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Idfa on Stage Brings Documentary to Life

  • Variety
Idfa on Stage Brings Documentary to Life
One of the innovations of Orwa Nyrabia, artistic director at Idfa, a leading documentary festival, has been to present a wide range of live productions to enhance the film experience, blurring the boundaries between documentary, music, and performing arts.

Curated by Jasper Hokken, the section called Idfa On Stage… is incredibly diverse, ranging from more traditional projects, such as the Belgian theater piece “True Copy,” to concert films (“The Long River Slides”) and a near-unclassifiable new media mash-up called A Machine for Viewing, which features cinema, Vr and performance.

It is a measure of the fast-moving and ever-evolving nature of Hokken’s project that he already has half an eye on next year’s selection. “We’re open for submissions,” he says, “and I’m looking forward to seeing what’s coming in. In the meantime I’ll continue having conversations with filmmakers and creators whenever I can, introducing them to this new,
See full article at Variety »

NYC Weekend Watch: Return of MoMA, Downtown Tokyo and More

Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.

Museum of Modern Art

MoMA has reopened, and it is–I do not say this lightly–almost too much in one weekend. See for yourself.

Film Forum

“Shitamachi: Tales of Downtown Tokyo” begins with both canon and lesser-known Japanese cinema.

Films by Tim Burton and Joseph Losey play this weekend.

Metrograph

Films by Hitchcock and Blake Edwards play this weekend.
See full article at The Film Stage »

Béla Tarr’s 10 Favorite Films

With a new restoration of Béla Tarr’s 1994 opus Sátántangó now playing in theaters, today we’re taking a look back at the Hungarian maestro’s favorite films. It may not be quite as immersive as attending his recent film school in Sarajevo, but watching these ten films may give one greater insight into his vision of the world.

As voted on in the latest Sight & Sound poll, selections include Carl Theodor Dreyer’s The Passion of Joan of Arc, Rainer Werner Fassbinder’s Berlin Alexanderplatz (a film that’s about double the length of Sátántangó), fellow Hungarian director Miklós Jancsó’s break-out drama The Round-Up, and more.

We recently spoke with Tarr at Berlinale, where he gave some lively advice about filmmaking and the state of the industry, “Go and shoot something with your phone and find your own way and that’s all. Who cares? Fuck off this shitty film industry.
See full article at The Film Stage »

From Netflix to Dada, MoMA’s Reboot Wants You to Reconsider Film History

After spending $450 million on four months of renovation and some 47,000 square feet of new gallery space, MoMA reopens October 21 with a radical refashioning of its artwork and curation. The goal is to provide a more diverse and expansive understanding of modernism — and that includes film.

While Van Gogh’s “Starry Night” still greets visitors in the museum’s first gallery, they only have to look to the right for the first cinematic experience, a recording of the New York City subway from 1905. The piece sits at the center of an entire room dedicated to early photography and moving images, including a selection from the Bert Williams 1914 silent work “Lime Kiln Club Field Day,” a Biograph production considered the earliest surviving film with African American actors.

It keeps going. Wandering the galleries two weeks before the opening, much remained unlabeled and unfinished — but movies were almost everywhere, sharing space with the
See full article at Indiewire »

Studio Hack to Inimitable Auteur: The Strange Path of Parajanov's Early Films

  • MUBI
AndreischAfter the staggering success of Shadows of The Forgotten Ancestors (1965), which won awards in London, New York, Mar Del Plata and Montreal, Sergei Parajanov was thrust onto the world stage as one of the most original filmmakers in the business. Depicting the conventions of the Hutsul people of the Carpathian mountains, it was a brave new step in Soviet filmmaking due to its restless camerawork, intense subjectivity, and ambiguous tone. The positive reception would inform his later work, a triumph of the local, celebrating ancient customs and dress in a visually dazzling fashion. To celebrate his legacy, Arsenal Kino in Berlin, supported by the Embassy of the Republic of Armenia, presented all eight of Parajanov’s feature films this fall, allowing audiences to see how the acclaimed filmmaker changed from studio-tied hack to inimitable auteur. When talking about Parajanov’s filmmaking and style, critics will invariably focus on his last four films—Forgotten Ancestors,
See full article at MUBI »

Ossang Doubloons the Corridas of Losers

  • MUBI
F.J. Ossang's Doctor Chance (1997) is showing on Mubi in December and January, 2018 as part of the series F.J. Ossang: Cinema Is Punk.“Out into the halls again, past dark Coke machines, and there he is lying horizontally across a metal folding chair like he’s practicing a levitation trick, both ragged cowboy boots propped up on a metal desk. He’s blue. That’s the first thing that strikes me. He’s all blue from the eyes clear down through his clothes. First thing he says to me, ‘We don’t have to make any connections.’ At first I’m not sure if he’s talking about us personally or the movie. ‘None of this has to connect, in fact it is better if it doesn’t connect.’“ —Sam Shepard, Rolling Thunder Logbook“The world has a new form of beauty: speed. Art is dead.” —Angstel Presley von
See full article at MUBI »

Academy Museum Unveils Inaugural Exhibits: ‘Wizard Of Oz’, Miyazaki, Black Cinema & More

  • Deadline
When it opens its doors late next year, the $388 million Academy Museum of Motion Pictures will feature exhibits designed to capture the interest of movie fans and historians alike, making it “the first institution of its scope and scale devoted to the past, present, and future of cinema,” the Museum said today in announcing its plans for the opening.

“The Museum’s exhibitions are as expansive and imaginative as the movies we love,” said Academy CEO Dawn Hudson in a release distributed during a luncheon today at the Petersen Automotive Museum across Wilshire Boulevard from the construction stie. “With its piazza and open spaces, the Museum will be a gathering place for film lovers and will invite people from all over the world to re-experience and deepen our collective love of this art form, accessible to all.”

A long-term exhibit, tentatively titled “Where Dreams Are Made: A Journey Inside the Movies,
See full article at Deadline »

‘Sew Winter to My Skin’ Director Demystifies Last Days of South African Outlaw

  • The Wrap
By depicting issues of racism and bigotry in pre-apartheid South Africa, “Sew Winter to My Skin” writer and director Jahmil X.T. Qubeka said he wants to portray everything that “make(s) us the same in humanity, rather than the things that set us apart.”

Following a screening of the 2018 film, South Africa’s Oscar foreign race entry, Qubeka participated in a Q&A moderated by TheWrap CEO and founder Sharon Waxman. Based on true events, “Sew Winter to My Skin” is a Western-style film that follows the violent and emotional last days leading up to South African outlaw John Kepe’s execution in June 1952. Kepe (Ezra Mabengeza), the self-proclaimed “Samson of Boschberg,” was hung for a string of crimes including theft and the murder of a farmworker.

“If you ask me what the film’s about, it’s a love letter to our history. The pain that we live through
See full article at The Wrap »

Nikolai Izvolov on Restoring Dziga Vertov’s ‘The Anniversary of the Revolution’

  • Variety
Nikolai Izvolov on Restoring Dziga Vertov’s ‘The Anniversary of the Revolution’
David Abelevich Kaufman – a.k.a. Dziga Vertov, a Ukrainian phrase meaning “spinning top” – is best known for his pioneering 1929 film “Man With a Movie Camera,” a snapshot of daily life in various Russian cities. Unusually for a documentary, the film wasn’t so much celebrated for its subject-matter as its style – even today, the film is a startlingly adventurous exploration of the possibilities of cinema, using slow motion, shot reversals, freeze-frames, optical illusions and more to create a hallucinogenic meditation on the everyday.

It was deemed to be the high watermark of the director’s career, even though he worked until his death in 1954, aged 58. But until now it’s been impossible to truly measure Vertov’s achievements, since his ambitious debut, 1918’s “The Anniversary of the Revolution,” has been unavailable to view. Last year, however, Russian film scholars made a breakthrough, finding a shot list that enabled them
See full article at Variety »

Rushes. Nyff, Barry Jenkins Returns, "Man With a Movie Camera" Disassembled

  • MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSThe 30 films comprising the main slate of this year's New York Film Festival have been announced, including Alfonso Cuarón's autobiographical, Mexico-set film Roma, Mariano Llinás's fourteen-hour "adventure in scale and duration" La Flor, and Alex Ross Perry's '90s rockstar melodrama Her Smell. "The unifying thread is their bravery," says Festival Director Kent Jones. "The bravery needed to fight past the urge to commercialized smoothness and mediocrity that is always assuming new forms." Festival president Marco Solari and Vice President Carla Speziali of the Locarno Film Festival—which is currently ongoing until August 11—have agreed to sign a pledge "ensuring gender equality and inclusion in programming". The initiative was organized by members of the Swiss Women’s Audiovisual Network (Swan), including filmmaker Ursula Meier, and joins a number of pledges to
See full article at MUBI »

Documentary Review: Toward a Common Tenderness (2017) by Kaori Oda

“Some things I cannot resist filming, they demand it.”

Ever since the arrival of film as a medium and as an art, the possibilities of it have been endless. In the influential documentary “Man with a Movie Camera” ,P olish filmmaker Dziga Vertov experimented not only with the medium in terms of form, but also aimed to define the relationship of the director, the camera and the subject which is to be filmed. Considering the medium has made many technical advances over the years since the release of Vertov’s there have been quite a few attempts to re-define this relationship. The most noteworthy examples in this field may be Jean-Luc Godard’s “Adieu au Langage” (2014) and the films by Chris Marker.

Generally speaking, the nature of film theory touches upon that exact link to the audience as well as the authenticity of the picture itself. In the end, one of the most interesting aspects,
See full article at AsianMoviePulse »

Rushes. "Suspiria" and "A Star Is Born" Remakes, Free Kino-Pravda, Kate Bush

Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSBrian De Palma's forthcoming film Domino has yet to premiere (and might not at all); and meanwhile he is preparing a new film, “a horror film, with a sexual aggressor,” apparently inspired by Harvey Weinstein. David Hudson has gathered the De Palma news at The Daily.Essential: The Austrian Film Museum has shared their restoration for Soviet filmmaking Dziga Vertov's 23-episode cinematic newsreel series known as Kino-Pravda. All available for your viewing pleasure at the museum's Collection Dziga Vertov.Recommended VIEWINGTo start with, this week has brought a slew of promising new trailers for films from Luca Guadagnino (remaking Suspiria!), Zhang Yimou (Shadow), Steve McQueen (Widows), David Lowery (The Old Man & the Gun), plus the directorial debut of Bradley Cooper (remaking A Star Is Born!): Notebook contributors Adrian Martin and Cristina
See full article at MUBI »

Jean-Luc Godard Cites His Sources in First Preview for Cannes-Bound ‘The Image Book’

It is more or less par for the course that no film at at this year’s Cannes will stir the pot quite like Jean-Luc Godard’s The Image Book, an actor-free visual essay on the contemporary Arab world — something Godard perhaps hasn’t seriously explored on film since, perhaps, 1976’s Ici et ailleurs. You might wish this had the 3D dog, but a) I feel that way about every film post-Goodbye to Language; b) far and away the most brilliant crank in cinema probing the most contested area of the world should do all the same.

To call what’s just been unveiled “a preview” is both accurate and on-the-nose: employing the mixture of classical music and slightly panicked spoken-word that screams Late Godard, it marks the most abstract works cited I’ve ever encountered. Mysterious as the film remains, we’ve already seen, read, and heard much
See full article at The Film Stage »

Angela Schanelec: The Decisive Cut

  • MUBI
Mubi's retrospective Angela Schanelec: Showing without Telling is playing from April 5 - June 3, 2018. Angela Schanelec's The Dreamed Path (2016), which is receiving an exclusive global online premiere on Mubi, is showing from May 4 - June 3, 2018 as a Special Discovery. Two images separated by a cut in The Dreamed Path.1. “A good viewer of the future will immediately recognize that between shot 24 and 25 Robert de Niro has had pasta for lunch, while between shot 123 and 124 he has clearly had chicken for supper; but this disruption of continuity through excessive culinary attention will make it impossible for him to follow the plot.” (Raul Ruiz, Poetics of Cinema) 2. The straight cut is the most ordinary way for the cinema to move from one scene or event to the next. It’s a simple splice. But since one could conceivably splice anything together with anything, a standard editing grammar developed, one that we all know quite well,
See full article at MUBI »

Parallel Worlds: An Interview with Paul Clipson

  • MUBI
“Who could fail to sense the greatness of this art, in which the visible is the sign of the invisible?”—Jean GrémillonCinema is what you imagine, and what you imagine first, in the darkness where bundles of light thrown 24 times a second at a wall produce illusion, is movement, an electromagnetic record of the past conjured into motion by your mind’s eye. A vision. So cinema is alchemy, it’s mystery. Unlike television, which is ephemeral but endless, cinema is eternal yet ever ending. (Raúl Ruiz made an entire film from the short ends of another, and the studio system of Classic Hollywood was so dedicated to The End that it couldn’t go on.) Cinema is shadow, totality, the night.Not all film is cinema and not all cinema is poetry, but poetry in the movies is always cinema. And poetry is unknowable, like the films of Paul Clipson.
See full article at MUBI »

'Godard is not God!' … Michel Hazanavicius on his film about France's most notorious director

The women, the films, the fights, the flops … the director of The Artist has risked infuriating France with Redoubtable – a hilarious drama about Jean-Luc Godard

It’s May 1968 and Jean-Luc Godard is marching along a Paris boulevard during an anti-establishment demo. On the face of it, things couldn’t be better for the leading light of the nouvelle vague: the great director is spending his spring lobbing stones at the riot police, haranguing students at sit-ins, and making love to his beautiful wife Anne Wiazemsky, nearly 20 years his junior and the star of his new film.

But, just then, a demonstrator sidles up and praises Godard’s early films – A Bout de Souffle with Jean-Paul Belmondo, Le Mepris with Brigitte Bardot. As the fan heaps on more praise, Godard’s face gets longer and longer. Doesn’t this guy realise that the old Godard is dead? That he has disowned those films?
See full article at The Guardian - Film News »

'Manifesto' Review: Cate Blanchett, 13 Roles, One Genius Acting Showcase

'Manifesto' Review: Cate Blanchett, 13 Roles, One Genius Acting Showcase
Take one Oscar-winning actor. Pair her with a German visual artist, one with a puckish sense of humor. Give her 13 different roles, including female archetypes ranging from a Southern housewife to a blow-dried broadcast newsreader, and pray that Cindy Sherman doesn't sue. And then give her some of the most (in)famous declarations of sociopolitical/artistic intent ever written – Marx to Maples Arce, Dziga Vertov to Guy Debord, Dada to Dogme '95 – to speak in lieu of dialogue, while totally in character. At this point, you are either breathing heavy
See full article at Rolling Stone »

‘Vertigo’ Revisited: Guy Maddin Explores Hitchcock’s Classic With Found Footage — Sf International Film Festival

‘Vertigo’ Revisited: Guy Maddin Explores Hitchcock’s Classic With Found Footage — Sf International Film Festival
It’s usually unwise to remake a masterpiece, but Guy Maddin has something different planned for “The Green Fog,” a meditation on Alfred Hitchcock’s “Vertigo.” Unlike Gus Van Sant’s much-maligned 1998 shot-for-shot remake of “Psycho,” the Canadian director has revisited the 1958 thriller as an assemblage of old footage from San Francisco, the city where “Vertigo” takes place.

However, the project was never intended to have anything to do with “Vertigo.”

In “The Green Fog — A San Francisco Fantasia,” commissioned by San Francisco Film Society and set to close the San Francisco International Film Festival’s 60th edition on April 16, Maddin and co-directors Evan and Galen Johnson explore what Maddin has called “a rhapsody” on the Hitchcock movie. Set to an original score by composer Jacob Garchik that will be performed live by the San Francisco-based Kronos Quartet, the 63-minute “The Green Fog” reimagines the movie through an assemblage of
See full article at Indiewire »

Film / Notfilm

An experimental film by an Irish playwright, shot in New York with a silent comedian at the twilight of his career? Samuel Beckett’s inquiry into the nature of movies (and existence?) befuddled viewers not versed in film theory; Ross Lipman’s retrospective documentary about its making asks all the questions and gets some good answers.

First there’s the film itself, called just Film from 1965. By that year our high school textbooks had already enshrined Samuel Beckett’s Waiting for Godot as a key item for introducing kids to modern theater, existentialism, etc. … the California school system was pretty progressive in those days. But Beckett had a yen to say something in the film medium, and his publisher Barney Rosset helped him put a movie together. The Milestone Cinematheque presents the UCLA Film & Television Archive’s restoration of Film on its own disc, accompanied by a videotaped TV production
See full article at Trailers from Hell »

Berlinale 2017. A Cosmogony of Political Cinema

  • MUBI
“Nothing in the world is irreversible, not even capitalism.”—Fidel CastroTen years in the making, almost forty in clandestine obscurity, Fernando Birri's Org (1967-1978) had almost disappeared after its premiere at the Venice Film Festival and resurfaced for the first time, in its legitimate and restored form, at this year's Berlinale where it was screened in Forum. A hallucinatory deluge of colors, sounds and syncopated reveries, Org is an onomatopoeic film where the aesthetic and political tensions of a decade coalesce into an unresolved crucible of psychedelic militancy. The cinema of Dziga Vertov and Guy Debord is projected through the canvases of Roy Lichtenstein, social realism is supplanted by a third worldly modernism. Of the many semiotic victims strewn along the film's path is the convulsive plot which remains illegible throughout and yet alludes to an archetypal structure that is undermined at its very basis. The festival helpfully described
See full article at MUBI »
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