Every time a presumed-lost silent film is rediscovered, it’s cause for celebration. When elements were found to restore complete versions of “The Passion of Joan of Arc” and “Metropolis,” the resulting restoration premiere was a major cinematic event. For his part, the silent film historian Kevin Brownlow told me he thinks a treasure trove of lost silents is just awaiting rediscovery in the archives of the Cinemateca de Cuba.
One major new find occurred right in the United States, however. Filmmaker Gary Huggins was hoping to buy a celluloid reel for a cartoon as part of the auction of films an Omaha-based distributor had held, after the distributor folded. He had to purchase a number of other films as well in order to get the one he wanted, and among those other titles? A presumed-lost 1923 movie with silent film megastar Clara Bow called “The Pill Pounder.”
A fun broadcast...
One major new find occurred right in the United States, however. Filmmaker Gary Huggins was hoping to buy a celluloid reel for a cartoon as part of the auction of films an Omaha-based distributor had held, after the distributor folded. He had to purchase a number of other films as well in order to get the one he wanted, and among those other titles? A presumed-lost 1923 movie with silent film megastar Clara Bow called “The Pill Pounder.”
A fun broadcast...
- 3/10/2024
- by Christian Blauvelt
- Indiewire
Mickey Mouse, the iconic fi – oh, you don’t need a refresher on who Mickey Mouse is? Well, the Disney mascot is now officially in the public domain…under certain specifications. In short, you won’t be seeing him and Goofy slashing their way through Disney World anytime soon…
As U.S. copyright law says a work can enter the public domain 95 years after its publication, a form of Mickey Mouse will be made available for use by anyone. This chiefly concerns Steamboat Willie, which is generally considered the debut of Mickey Mouse, although Plane Crazy and The Gallopin’ Gaucho were both produced prior to the landmark short. As such, those films will also be in the public domain.
But the Mickey Mouse of Steamboat Willie is most definitely not the same as the Mickey Mouse we all identify. The 1928 version has more rat-like features, with an elongated nose, smaller...
As U.S. copyright law says a work can enter the public domain 95 years after its publication, a form of Mickey Mouse will be made available for use by anyone. This chiefly concerns Steamboat Willie, which is generally considered the debut of Mickey Mouse, although Plane Crazy and The Gallopin’ Gaucho were both produced prior to the landmark short. As such, those films will also be in the public domain.
But the Mickey Mouse of Steamboat Willie is most definitely not the same as the Mickey Mouse we all identify. The 1928 version has more rat-like features, with an elongated nose, smaller...
- 1/1/2024
- by Mathew Plale
- JoBlo.com
Today, Jan. 1, isn’t just New Year’s Day — it’s also Public Domain Day, where thousands of cinematic treasures, literary classics, Great American Songbook selections, and works of art see their copyrights expire and enter the public domain.
The headliner this year is the fair use of Mickey Mouse — at least, the Steamboat Willie version of the beloved character — as that copyright expiration has been anticipated for years. However, there’s much more than just Mickey entering the public domain in 2024.
Jennifer Jenkins, Director of Duke’s Center for...
The headliner this year is the fair use of Mickey Mouse — at least, the Steamboat Willie version of the beloved character — as that copyright expiration has been anticipated for years. However, there’s much more than just Mickey entering the public domain in 2024.
Jennifer Jenkins, Director of Duke’s Center for...
- 1/1/2024
- by Daniel Kreps
- Rollingstone.com
Pablo Larraín’s primary mode is deconstruction, of everything from genre to myth to ideology. But given its intensely subjective point of view, El Conde shares more in common with Spencer and Jackie than the filmmaker’s earlier investigations into Chile’s tumultuous past, Post Mortem and No. The film seeks to dispense with the historical record and imagine what happens behind closed doors. Of course, there’s one important difference here: El Conde is certainly no stickler for verisimilitude, as the Augusto Pinochet (Jaime Vadell) of this film is a morose vampire fasting from blood in order to ease himself into death.
That premise might suggest that Larraín has sympathy for the devil, but El Conde is no hagiography. The film renders Pinochet as an aging, ever-prattling child of sorts, who no longer wants to live in a Chile that has no appreciation for all his “great work,” nor...
That premise might suggest that Larraín has sympathy for the devil, but El Conde is no hagiography. The film renders Pinochet as an aging, ever-prattling child of sorts, who no longer wants to live in a Chile that has no appreciation for all his “great work,” nor...
- 8/31/2023
- by Greg Nussen
- Slant Magazine
Salt Of The EarthPhoto: Public Domain
Salt Of The Earth is a movie that sees around corners. Partly—but only partly— because of the current Hollywood writers’ strike, it also speaks loudly to our time. A strike movie about labor unrest in a mining town, Salt Of The Earth was...
Salt Of The Earth is a movie that sees around corners. Partly—but only partly— because of the current Hollywood writers’ strike, it also speaks loudly to our time. A strike movie about labor unrest in a mining town, Salt Of The Earth was...
- 5/23/2023
- by Ray Greene
- avclub.com
It’s the hardest thing to wait to see them after hearing about the movies that debuted at Sundance. But if you live in the Southeast, there’s no better way to cut that wait short than a trip to the Sarasota Film Festival, running this year from March 24 to April 2. Want to see the moving doc “A Still Small Voice”? Or the near-future pregnancy satire “The Pod Generation” with Emilia Clarke and Chiwetel Ejiofor? Not to mention the Alexandria Bombach Indigo Girls documentary “It’s Only Life After All,” “Aum: The Cult at the End of the World,” “Judy Blume Forever,” and “Fairyland”? This festival’s got you covered.
Some titles not yet available to the public from the fall festivals will screen as well, such as Paul Schrader’s “Master Gardener,” Daniel Goldhaber’s Neon title “How to Blow up a Pipeline,” and Kelly Reichardt’s “Showing Up,” as...
Some titles not yet available to the public from the fall festivals will screen as well, such as Paul Schrader’s “Master Gardener,” Daniel Goldhaber’s Neon title “How to Blow up a Pipeline,” and Kelly Reichardt’s “Showing Up,” as...
- 3/15/2023
- by Christian Blauvelt
- Indiewire
While we’ve known the results of Jeanne Dielman Tops Sight and Sound‘s 2022 Greatest Films of All-Time List”>Sight & Sound’s once-in-a-decade greatest films of all-time poll for a few months now, the recent release of the individual ballots has given data-crunching cinephiles a new opportunity to dive deeper. We have Letterboxd lists detailing all 4,400+ films that received at least one vote and another expanding the directors poll, spreadsheets calculating every entry, and now a list ranking how many votes individual directors received for their films.
Tabulated by Genjuro, the list of 35 directors, with two pairs, puts Alfred Hitchcock back on top, while Chantal Akerman is at number two. Elsewhere in the top ten are David Lynch, Francis Ford Coppola, Jean-Luc Godard, Agnès Varda, Orson Welles, Yasujirō Ozu, and Stanley Kubrick, and tied for the tenth spot is Wong Kar Wai and Ingmar Bergman.
Check out the list below,...
Tabulated by Genjuro, the list of 35 directors, with two pairs, puts Alfred Hitchcock back on top, while Chantal Akerman is at number two. Elsewhere in the top ten are David Lynch, Francis Ford Coppola, Jean-Luc Godard, Agnès Varda, Orson Welles, Yasujirō Ozu, and Stanley Kubrick, and tied for the tenth spot is Wong Kar Wai and Ingmar Bergman.
Check out the list below,...
- 3/5/2023
- by Jordan Raup
- The Film Stage
This piece contains major spoilers for "Knock at the Cabin."
"Knock at the Cabin" simultaneously feels like classic M. Night Shyamalan and something completely new for him. While he's certainly tackled difficult and heavy topics in his work before, none have arguably been as explicit about unexplainable acts of God as this one. It will certainly be a divisive piece of filmmaking, but is it really a Shyamalan movie if it isn't divisive?
One thing about the director, however, is that he has a poignant and genuine love for the medium of film. He's gone on record numerous times about his wide range of influences, and he's one of the few filmmakers who can take classic genre tropes and turn them into something uniquely compelling. "Knock at the Cabin" is no different, as it flips the home invasion thriller on its end by making its intruders not only sympathetic, but...
"Knock at the Cabin" simultaneously feels like classic M. Night Shyamalan and something completely new for him. While he's certainly tackled difficult and heavy topics in his work before, none have arguably been as explicit about unexplainable acts of God as this one. It will certainly be a divisive piece of filmmaking, but is it really a Shyamalan movie if it isn't divisive?
One thing about the director, however, is that he has a poignant and genuine love for the medium of film. He's gone on record numerous times about his wide range of influences, and he's one of the few filmmakers who can take classic genre tropes and turn them into something uniquely compelling. "Knock at the Cabin" is no different, as it flips the home invasion thriller on its end by making its intruders not only sympathetic, but...
- 2/3/2023
- by Erin Brady
- Slash Film
NYC Weekend Watch is our weekly round-up of repertory offerings.
Film at Lincoln Center
As the 4K restoration of Keane opens (read our interview with Lodge Kerrigan here) and Three Colors: Blue continues alongside Three Colors: White, the series “Animating Funny Pages” shows the inspiration of Owen Kline’s new feature—work by Robert Downey Sr, Frank Tashlin, and more.
Film Forum
To mark the great Alain Resnias’ centennial, a massive retrospective continues with Marienbad, Hiroshima, Je t’aime, je t’aime, and some of his lesser-seen (but no less great) features—Mélo, Stavisky, Love Unto Death, and Life is a Bed of Roses.
Bam
“Intimate Epics” continues with Happy Hour, Barry Lyndon, Andrei Rublev, and Sátántangó.
Museum of the Moving Image
Once Upon a Time in Hollywood, Licorice Pizza, and Sleeping Beauty all play on 70mm this weekend, while one of cinema’s most unsung heroes—women in Australian cinema—get...
Film at Lincoln Center
As the 4K restoration of Keane opens (read our interview with Lodge Kerrigan here) and Three Colors: Blue continues alongside Three Colors: White, the series “Animating Funny Pages” shows the inspiration of Owen Kline’s new feature—work by Robert Downey Sr, Frank Tashlin, and more.
Film Forum
To mark the great Alain Resnias’ centennial, a massive retrospective continues with Marienbad, Hiroshima, Je t’aime, je t’aime, and some of his lesser-seen (but no less great) features—Mélo, Stavisky, Love Unto Death, and Life is a Bed of Roses.
Bam
“Intimate Epics” continues with Happy Hour, Barry Lyndon, Andrei Rublev, and Sátántangó.
Museum of the Moving Image
Once Upon a Time in Hollywood, Licorice Pizza, and Sleeping Beauty all play on 70mm this weekend, while one of cinema’s most unsung heroes—women in Australian cinema—get...
- 8/18/2022
- by Nick Newman
- The Film Stage
For the festival poster for Jerzy Skolimowski's Eo, it is all focused on the 'melancholy eyes.' It's inspired by Robert Bresson's classic Au Hazard Balthazar, one of cinema's finest acts of pure empathy, rivaled only by Carl Dreyer's The Passion of Joan of Arc, Elem Klimov's Come and See, and Takahata Isao's Grave of the Fireflies. The pure red field, and tiny typesetting and low-centre credit block, leave all the work to the donkey's face. And what a magnificently sad face it is. But consider the red a warning; that this will be a difficult film. I am intrigued by the choice of doing the title itself in a child's scribble. I am guessing, without having seen the film, that children are involved (see also...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 5/27/2022
- Screen Anarchy
(Welcome to The Daily Stream, an ongoing series in which the /Film team shares what they've been watching, why it's worth checking out, and where you can stream it.)
The Movie: "The Passion of Joan of Arc"
Where You Can Stream It: HBO Max, The Criterion Channel
The Pitch: "The Passion of Joan of Arc" is one of those films that pitches itself right at the outset, as text informs the viewer that a library in Paris "holds one of the most extraordinary documents in the history of the world" -- a record of the trial of the 15th-century French martyr Joan of Arc, who was...
The post The Daily Stream: The Passion Of Joan Of Arc Is Potent As Ever appeared first on /Film.
The Movie: "The Passion of Joan of Arc"
Where You Can Stream It: HBO Max, The Criterion Channel
The Pitch: "The Passion of Joan of Arc" is one of those films that pitches itself right at the outset, as text informs the viewer that a library in Paris "holds one of the most extraordinary documents in the history of the world" -- a record of the trial of the 15th-century French martyr Joan of Arc, who was...
The post The Daily Stream: The Passion Of Joan Of Arc Is Potent As Ever appeared first on /Film.
- 5/21/2022
- by Joshua Meyer
- Slash Film
“It’s humbling, to tell you the truth,” exclaims production designer Stefan Dechant about receiving his first career Oscar nomination for his work on “The Tragedy of Macbeth.” This adaptation the classic Shakespeare drama, written and directed by Oscar winner Joel Coen, stars Oscar winners Denzel Washington and Frances McDormand as the murderous title couple. Along with Dechant’s nomination, the film also Oscar nods for Actor (Washington) and Cinematography. Check out our exclusive video interview with Dechant above.
SEEDenzel Washington movies: 21 greatest films ranked from worst to best
Dechant says his designs for the film were driven by Coen’s desire to create a “Macbeth” that was both theatrical and cinematic. “He wanted to abstract it, but he didn’t want to be filming a theatrical event,” he explains. “He very much wanted it to be cinematic. So the question was how do we abstract it. How do we...
SEEDenzel Washington movies: 21 greatest films ranked from worst to best
Dechant says his designs for the film were driven by Coen’s desire to create a “Macbeth” that was both theatrical and cinematic. “He wanted to abstract it, but he didn’t want to be filming a theatrical event,” he explains. “He very much wanted it to be cinematic. So the question was how do we abstract it. How do we...
- 3/8/2022
- by Tony Ruiz
- Gold Derby
Last Updated March 7: Dune,” “Nightmare Alley,” and “No Time to Die” were the big film winners March 5 at the 26th Art Directors Guild Awards (held at the Intercontinental Los Angeles Downtown). However, the production design race now comes down to “Dune” and “Nightmare Alley.”
Last Updated February 9: The production design Oscar nominees — “Dune” (Warner Bros.), “Nightmare Alley” (Searchlight/Disney), “The Power of the Dog” (Netflix), The Tragedy of Macbeth” (Apple TV+), and “West Side Story” (20th Century/Disney) — are all creative examples of world building which defy genre expectations.
However, the ambitious and imaginative world building for Denis Villeneuve “Dune” is the frontrunner for production designer Patrice Vermette and set decorator Zsuzsanna Sipos. They oversaw an assortment of large-scale sets at Origo Studios in Budapest. There’s the castle of the Atreides family on the ocean planet Caladan and distinguished by its Norwegian vibe with mottled hues. The...
Last Updated February 9: The production design Oscar nominees — “Dune” (Warner Bros.), “Nightmare Alley” (Searchlight/Disney), “The Power of the Dog” (Netflix), The Tragedy of Macbeth” (Apple TV+), and “West Side Story” (20th Century/Disney) — are all creative examples of world building which defy genre expectations.
However, the ambitious and imaginative world building for Denis Villeneuve “Dune” is the frontrunner for production designer Patrice Vermette and set decorator Zsuzsanna Sipos. They oversaw an assortment of large-scale sets at Origo Studios in Budapest. There’s the castle of the Atreides family on the ocean planet Caladan and distinguished by its Norwegian vibe with mottled hues. The...
- 3/7/2022
- by Bill Desowitz
- Indiewire
Some of the most indelible performances in cinema seem to come from a place beyond acting. One of the greatest ever committed to film was from Renée Maria Falconetti in Carl Theodor Dreyer's "The Passion of Joan of Arc," which gives us an unbearable intimacy with the young martyr as she faces her cruel inquisitors. For all the director's severe stylistic choices, it is Falconetti's raw emotion that lingers the most. To look upon her face at a distance of almost a century, her intensity is so vital that it gives the sense that she is still alive and suffering in the same room as you. The screen ceases...
The post How Possession Changed Isabelle Adjani Forever appeared first on /Film.
The post How Possession Changed Isabelle Adjani Forever appeared first on /Film.
- 2/25/2022
- by Lee Adams
- Slash Film
When production designer Stefan Dechant (Disney’s upcoming hybrid “Pinocchio”) got a surprise call to meet with Joel Coen on the spur of the moment to discuss “The Tragedy of Macbeth,” his noir-like Shakespeare adaptation of murder, madness, and mayhem, starring Denzel Washington and Frances McDormand, Dechant was immediately hooked.
The look and design were explicitly laid out in a photo album that Coen shared with Dechant, after the director spent a year refining his black-and-white vision with cinematographer Bruno Delbonnel. It cried out German Expressionism, with images from movies, architecture, photography, and theater (modernist stage designer Edward Gordon Craig’s use of large geometric blocks). Inspired by the blueprint, the production designer went to work on the very spare Shakespearean world building, shot on sound stages in L.A.
“When we sat down, Joel had a very strong vision [for the look and choreography]: black-and-white, Academy ratio [1.37:1], German Expressionism, and it was abstracted...
The look and design were explicitly laid out in a photo album that Coen shared with Dechant, after the director spent a year refining his black-and-white vision with cinematographer Bruno Delbonnel. It cried out German Expressionism, with images from movies, architecture, photography, and theater (modernist stage designer Edward Gordon Craig’s use of large geometric blocks). Inspired by the blueprint, the production designer went to work on the very spare Shakespearean world building, shot on sound stages in L.A.
“When we sat down, Joel had a very strong vision [for the look and choreography]: black-and-white, Academy ratio [1.37:1], German Expressionism, and it was abstracted...
- 1/4/2022
- by Bill Desowitz
- Indiewire
Acclaimed writer/director David Lowery joins Josh and Joe to discuss the films that inspired The Green Knight.
Show Notes: Movies Referenced In This Episode
The Green Knight (2021)
Peter Pan & Wendy (2022)
Lawrence Of Arabia (1962)
The Old Man And The Gun (2018)
A Ghost Story (2017)
Pete’s Dragon (1977)
Pete’s Dragon (2016) – Glenn Erickson’s review
Ain’t Them Bodies Saints (2013)
Ghost Story (1974)
Sword of the Valiant (1984)
Gawain and the Green Knight (1973)
Electric Boogaloo: The Wild, Untold Story of Cannon Films (2014)
Masters of the Universe (1987) – Josh Olson’s trailer commentary
Andrei Rublev (1966) – Glenn Erickson’s Criterion Blu-ray review, Dennis Cozzalio’s Muriel Awards blurb
War And Peace (1966) – Glenn Erickson’s Blu-ray review
Heaven’s Gate (1980)
The Passion Of Joan Of Arc (1928) – Charlie Largent’s Criterion Blu-ray review
The Devils (1971)
Space Jam: A New Legacy (2021)
A Clockwork Orange (1971)
The Conjuring (2013)
Jubilee (1978)
Benedetta (2021)
Dune (1984)
Dune (2021)
Hard To Be A God (2013)
Jodorowsky’s Dune (2013)
Moby Dick (1956) – Ernest Dickerson’s trailer commentary,...
Show Notes: Movies Referenced In This Episode
The Green Knight (2021)
Peter Pan & Wendy (2022)
Lawrence Of Arabia (1962)
The Old Man And The Gun (2018)
A Ghost Story (2017)
Pete’s Dragon (1977)
Pete’s Dragon (2016) – Glenn Erickson’s review
Ain’t Them Bodies Saints (2013)
Ghost Story (1974)
Sword of the Valiant (1984)
Gawain and the Green Knight (1973)
Electric Boogaloo: The Wild, Untold Story of Cannon Films (2014)
Masters of the Universe (1987) – Josh Olson’s trailer commentary
Andrei Rublev (1966) – Glenn Erickson’s Criterion Blu-ray review, Dennis Cozzalio’s Muriel Awards blurb
War And Peace (1966) – Glenn Erickson’s Blu-ray review
Heaven’s Gate (1980)
The Passion Of Joan Of Arc (1928) – Charlie Largent’s Criterion Blu-ray review
The Devils (1971)
Space Jam: A New Legacy (2021)
A Clockwork Orange (1971)
The Conjuring (2013)
Jubilee (1978)
Benedetta (2021)
Dune (1984)
Dune (2021)
Hard To Be A God (2013)
Jodorowsky’s Dune (2013)
Moby Dick (1956) – Ernest Dickerson’s trailer commentary,...
- 8/31/2021
- by Kris Millsap
- Trailers from Hell
Above: English-language festival poster for There Are Not Thirty-Six Ways of Showing a Man Getting on a Horse. Design by Marcelo Granero.So another nine months have gone by since I last did one of these round-ups. As I’ve been doing for many years, I have tallied up the most popular posters featured on my Movie Poster of the Day Instagram (previously Tumblr). The biggest surprise, not least to its designer, was the popularity of a festival poster for an experimental Argentinian film There Are Not Thirty-Six Ways of Showing a Man Getting on a Horse which has racked up some 2,335 likes to date and was the third most popular design I posted in the whole of 2020 (after the two Parasite posters that topped my last round-up). When I say it’s surprising it’s because film recognition tends to play a big part in the popularity of posts,...
- 3/5/2021
- MUBI
Closing out a year in which we’ve needed The Criterion Channel more than ever, they’ve now announced their impressive December lineup. Topping the highlights is a trio of Terrence Malick films––Badlands, Days of Heaven, and The New World––along with interviews featuring actors Richard Gere, Sissy Spacek, and Martin Sheen; production designer Jack Fisk; costume designer Jacqueline West; cinematographers Haskell Wexler and John Bailey; and more.
Also in the lineup is an Afrofuturism series, featuring an introduction by programmer Ashley Clark, with work by Lizzie Borden, Shirley Clarke, Souleymane Cissé, John Akomfrah, Terence Nance, and more. There’s also Mariano Llinás’s 14-hour epic La flor, Bill Morrison’s Dawson City: Frozen Time, Ken Loach’s Sorry We Missed You, Jennie Livingston’s Paris Is Burning, plus retrospectives dedicated to Mae West, Cary Grant, Barbra Streisand, and more.
Check out the lineup below and return every Friday for our weekly streaming picks.
Also in the lineup is an Afrofuturism series, featuring an introduction by programmer Ashley Clark, with work by Lizzie Borden, Shirley Clarke, Souleymane Cissé, John Akomfrah, Terence Nance, and more. There’s also Mariano Llinás’s 14-hour epic La flor, Bill Morrison’s Dawson City: Frozen Time, Ken Loach’s Sorry We Missed You, Jennie Livingston’s Paris Is Burning, plus retrospectives dedicated to Mae West, Cary Grant, Barbra Streisand, and more.
Check out the lineup below and return every Friday for our weekly streaming picks.
- 11/24/2020
- by Leonard Pearce
- The Film Stage
by Cláudio Alves
Carl Theodor Dreyer is one of my favorite filmmakers. I'll never forget the first time I watched The Passion of Joan of Arc on the big screen and was transported, how experiencing Vampyr felt like witnessing a projected nightmare, the ecstasy of Ordet's ending or Gertrud's stern ruminations on love. It's to my great shame that I'm not familiar with the Danish director's early works, having mostly ignored them until now. The centennial of Dreyer's second feature, Leaves from Satan's Book, makes this a great time to start correcting these cinephilic lacunas…...
Carl Theodor Dreyer is one of my favorite filmmakers. I'll never forget the first time I watched The Passion of Joan of Arc on the big screen and was transported, how experiencing Vampyr felt like witnessing a projected nightmare, the ecstasy of Ordet's ending or Gertrud's stern ruminations on love. It's to my great shame that I'm not familiar with the Danish director's early works, having mostly ignored them until now. The centennial of Dreyer's second feature, Leaves from Satan's Book, makes this a great time to start correcting these cinephilic lacunas…...
- 11/15/2020
- by Cláudio Alves
- FilmExperience
Always bold to some degree, seldom less than ambitious, William Friedkin’s career as a filmmaker has seen countless awards won; box offices records broken; and left us with more than a few classics. While the director can tell a story behind the camera, he’s also a knowledgeable, entertaining personality in front of one. Gifted with a voice worthy of sports broadcasting, he manages to appear even larger than his resume–in the same way his contemporary Peter Bogdanovich often does, another director who kept a foot in both “New Hollywood” and the gilded past of cinema history. Yet Friedkin is perhaps the only filmmaker so intrinsically linked with both the birth of New Hollywood and, unwittingly, with its ideological demise.
This irresistible combo of charisma, auteurism, and historical clout has inspired a number of documentary filmmakers in recent years. Francesco Zippel’s 2018 movie Friedkin Uncut provided a rollicking career overview,...
This irresistible combo of charisma, auteurism, and historical clout has inspired a number of documentary filmmakers in recent years. Francesco Zippel’s 2018 movie Friedkin Uncut provided a rollicking career overview,...
- 6/10/2020
- by Rory O'Connor
- The Film Stage
Bruno Dumont’s movies linger somewhere between deadpan comedy and bleak existential yearning, an uneasy combo that often makes them hard to classify. From the nomadic supernatural traveler who haunts the French countryside in “Outside Satan,” to the bumbling cops investigating a seaside community in the miniseries “Li’l Quinquin,” Dumont excels at absurdist storytelling that wanders down strange pathways that either end in oddball punchlines or take a sharp turn into profundity. Not every curveball lands, but Dumont’s eerie, dreamlike storytelling has made him one of France’s most endearing and unpredictable filmmakers of the past 20-odd years.
All of which means that “Joan of Arc,” the filmmaker’s , benefits from a working familiarity of the vision behind the camera. Technically, it’s as much a part of a growing Dumont franchise as “Li’l Quinquin,” as “Joan of Arc” follows his 2017 “Jeanette: The Childhood of Joan of Arc,...
All of which means that “Joan of Arc,” the filmmaker’s , benefits from a working familiarity of the vision behind the camera. Technically, it’s as much a part of a growing Dumont franchise as “Li’l Quinquin,” as “Joan of Arc” follows his 2017 “Jeanette: The Childhood of Joan of Arc,...
- 5/20/2020
- by Eric Kohn
- Indiewire
When it comes to having to self-quarantine, shelter-in-place or otherwise not leave your house, movies are a wonderful escape from monotony of shifting couch cushions so that you can at least pretend you went somewhere. With them, you can go fully Around the World in 80 Days (1956) before you eventually Fly Away Home (1996) again, the Criterion Channel gives you all the wonders of the world without ever having to break quarantine. And these five films are as good a place as any to start your cinematic adventure. The Passion of Joan of Arc (1928) – I think one
Quarantine and Chill: 5 Must-Stream Movies to Watch on the Criterion Channel in May 2020...
Quarantine and Chill: 5 Must-Stream Movies to Watch on the Criterion Channel in May 2020...
- 5/15/2020
- by Brian Hadsell
- TVovermind.com
The Head
DVD – Region 2 Only – No English Audio or Subtitles
Delta Music & Entert. GmbH & Co. Kg
1959 / 1.33:1 / 97 min.
Starring Michel Simon, Horst Frank, Karin Kernke
Cinematography by Georg Krause
Directed by Victor Trivas
A scientist who operates out of a starkly Modernist laboratory of glass and steel, Dr. Ood comes from a long line of German crackpots with a flair for the theatrical. Rotwang, the bug-eyed inventor of Fritz Lang’s Metropolis, springs to mind along with Dr. Gogol, the lovelorn psychopath of Karl Freund’s Mad Love. And not to forget the omniscient Dr. Mabuse. Each man had style to burn and was obsessed with possessing desirable – and controllable – women.
The protagonist of Victor Trivas’s The Head, Ood was the most hands-on of the bunch, satisfying his lust by transplanting the head of a beautiful but misshapen doctor’s assistant to the body of a burlesque queen. Trivas...
DVD – Region 2 Only – No English Audio or Subtitles
Delta Music & Entert. GmbH & Co. Kg
1959 / 1.33:1 / 97 min.
Starring Michel Simon, Horst Frank, Karin Kernke
Cinematography by Georg Krause
Directed by Victor Trivas
A scientist who operates out of a starkly Modernist laboratory of glass and steel, Dr. Ood comes from a long line of German crackpots with a flair for the theatrical. Rotwang, the bug-eyed inventor of Fritz Lang’s Metropolis, springs to mind along with Dr. Gogol, the lovelorn psychopath of Karl Freund’s Mad Love. And not to forget the omniscient Dr. Mabuse. Each man had style to burn and was obsessed with possessing desirable – and controllable – women.
The protagonist of Victor Trivas’s The Head, Ood was the most hands-on of the bunch, satisfying his lust by transplanting the head of a beautiful but misshapen doctor’s assistant to the body of a burlesque queen. Trivas...
- 4/18/2020
- by Charlie Largent
- Trailers from Hell
A stark contrast from triumphalist Allied narratives of World War II, Elem Klimov’s spellbinding Belarus-set masterpiece Come and See–now playing in a beautiful new restoration from Janus Films–tells a harrowing story of the Eastern Front from the perspective of those for whom victory against the Nazis came at far too steep a price.
Based on Ales Adamovich’s painstakingly researched historical novel I Am from the Fiery Village (the author also co-wrote the screenplay with Klimov), Come and See follows Flyora (Aleksei Kravchenko), a young boy from rural Belarus seeking to enlist with the Soviet Partisans, eager for martial glory even as he ignores warnings of impending doom. Once war breaks out, Flyora’s reality begins to warp and fold in on itself as he bears harrowing witness to the Nazis’ war crimes and the existential horror of total war.
Klimov’s technique, and thus the film...
Based on Ales Adamovich’s painstakingly researched historical novel I Am from the Fiery Village (the author also co-wrote the screenplay with Klimov), Come and See follows Flyora (Aleksei Kravchenko), a young boy from rural Belarus seeking to enlist with the Soviet Partisans, eager for martial glory even as he ignores warnings of impending doom. Once war breaks out, Flyora’s reality begins to warp and fold in on itself as he bears harrowing witness to the Nazis’ war crimes and the existential horror of total war.
Klimov’s technique, and thus the film...
- 2/24/2020
- by Eli Friedberg
- The Film Stage
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.
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.
- 10/21/2019
- by Leonard Pearce
- The Film Stage
The very idea of a modern reworking of a classical text itself gets a modern reworking in Sophie Deraspe’s supple and impassioned “Antigone,” Further electrified by a performance of immense self-possession and dignity from revelatory new star Nahéma Ricci, the clever screenplay (the film is also written and crisply shot by Deraspe) injects these ancient archetypes directly into the bloodstream of the modern-day immigration debate. So while the up-to-the-minute Quebecois setting ought to guarantee significant Francophone interest, its selection as Canada’s Oscar entry should by rights ensure it finds an audience in other territories divided by the immigration issue: namely, almost every developed nation on the planet.
But justifiable rage at the callous institutional mistreatment of foreign-born citizens and residents is only one of “Antigone’s” topical concerns. Deraspe’s last film was the documentary “The Amina Profile,” which investigated the global catfishing incident that was the...
But justifiable rage at the callous institutional mistreatment of foreign-born citizens and residents is only one of “Antigone’s” topical concerns. Deraspe’s last film was the documentary “The Amina Profile,” which investigated the global catfishing incident that was the...
- 10/7/2019
- by Jessica Kiang
- Variety Film + TV
Adapted from Steve Erickson’s brilliant and hypnotic 2007 novel of the same name, this is a story about someone who thinks that movies are the most precious things in the universe; someone who believes that cinema reveals the work of God, and that celluloid hides the secrets of all creation in the space between sprocket holes. Franco, on the other hand, has always maintained a somewhat messier “throw shit at the wall and see what sticks” approach to artistic creation. Prolific to the point of self-parody before reports of sexually exploitative behavior slowed him down, he’s been emboldened by a digital culture that rewards volume and encourages disposability.
That isn’t meant to be a criticism so much as a statement of fact. Franco is a creature of the 21st century, far better equipped to pay homage to “The Room” than to solve the hidden mysteries of George Stevens’ “A Place in the Sun.
That isn’t meant to be a criticism so much as a statement of fact. Franco is a creature of the 21st century, far better equipped to pay homage to “The Room” than to solve the hidden mysteries of George Stevens’ “A Place in the Sun.
- 9/19/2019
- by David Ehrlich
- Indiewire
University of Chicago professor Jacqueline Stewart has been announced as host of “Silent Sunday Nights,” the 25-year-old Turner Classic Movies (TCM) block that offers iconic movies from the silent era as well as forgotten gems and international classics. Stewart is a professor in the Department of Cinema and Media Studies, specializing in the history of African American cinema from the silent era to the present. She is also a three-term appointee to the National Film Preservation Board (Nfpb), which advises the Librarian of Congress on policy, and is the Chair of the Nfpb Diversity Task Force working to ensure the films chosen for the National Film Registry reflect diversity and inclusion.
For Stewart, hosting TCM’s “Silent Sunday Nights” is an opportunity that meshes harmoniously with the kind of work she’s been doing throughout her career.
“It’s an incredible alignment of my expertise as a scholar across my career,...
For Stewart, hosting TCM’s “Silent Sunday Nights” is an opportunity that meshes harmoniously with the kind of work she’s been doing throughout her career.
“It’s an incredible alignment of my expertise as a scholar across my career,...
- 9/9/2019
- by Tambay Obenson
- Indiewire
Shot using a 1970s wind-up Bolex camera and on 16mm film, Mark Jenkin’s Bait is somewhat of a glorious visual anomaly in a world dominated by big budget blockbuster action thrillers and endless superhero franchises.
Set within a small community of an undisclosed Cornish fishing village (the shoot itself took place in Charlestown and Penzance), Bait presents an eerily enchanting expressionist aesthetic which owes a lot to the early films of French cinema pioneer Jean Epstein (The Fall of The House of Usher) or even Carl Theodor Dreyer (The Passion of Joan of Arc).
Bait tells the story of Martin Ward (played brilliantly by comedian Edward Rowe aka Kernow King), a gruff and taciturn cove fisherman who no longer has a boat at his disposition to fulfil a job he loves. His brother Steven (Giles King) has turned their father’s vessel into a pleasure boat for tourists, and...
Set within a small community of an undisclosed Cornish fishing village (the shoot itself took place in Charlestown and Penzance), Bait presents an eerily enchanting expressionist aesthetic which owes a lot to the early films of French cinema pioneer Jean Epstein (The Fall of The House of Usher) or even Carl Theodor Dreyer (The Passion of Joan of Arc).
Bait tells the story of Martin Ward (played brilliantly by comedian Edward Rowe aka Kernow King), a gruff and taciturn cove fisherman who no longer has a boat at his disposition to fulfil a job he loves. His brother Steven (Giles King) has turned their father’s vessel into a pleasure boat for tourists, and...
- 8/30/2019
- by Linda Marric
- HeyUGuys.co.uk
When Jeannette world premiered in Cannes’ Directors’ Fortnight in 2017, Bruno Dumont’s acolytes were left grappling with a taxonomical head-scratcher. Lo and behold, a director whose filmography had by and large consisted of austere and somber ruminations on life, death, and the divine, homing in on a historical figure that promised more of the same, and heralded a rebranding of sorts. For a martyr who’d been sanctified on the silver screen as far back as Carl Theodor Dreyer’s 1928 The Passion of Joan of Arc, Jeannette looked like nothing that came before it. A musical rendition of the Maid of Orleans’ childhood and early teenage years, it framed the heroine’s spiritual awakening through the least likely rubric imaginable: heavy metal music. It was reckless, bonkers, and delightfully original.
Where Jeannette had effectively represented a stylistic and tonal departure from old Dumont, Joan of Arc is a detour to familiar,...
Where Jeannette had effectively represented a stylistic and tonal departure from old Dumont, Joan of Arc is a detour to familiar,...
- 6/10/2019
- by Leonardo Goi
- The Film Stage
The Notebook is covering Cannes with an on-going correspondence between critic Leonardo Goi and editor Daniel Kasman.JeanneDear Danny,The day I first met Bruno Dumont, a blistering hot August afternoon in a hotel perched atop the hills of Locarno, was also the day before production for his latest film, Jeanne (Joan of Arc), was due to kick off. A sequel to his 2017 Jeannette, a musical period-piece on the childhood of Joan of Arc which had world premiered in Cannes and had continued its festival tour with a bow in the Swiss Alps, Jeanne had big shoes to fill. Scored by French electro-musician Igorrr and choreographed by Philippe Decouflé, Jeannette dwelled into the formative years of the 15th century French martyr through the most unlikely—and original—rubric imaginable: heavy metal music. For a heroine incessantly dissected and celebrated by decades of cinema history (from Carl Theodor Dreyer’s 1928 The Passion of Joan of Arc...
- 5/21/2019
- MUBI
In the category of culture-driven documentaries that focus on film history, a particularly enjoyable subset of that subset is the kind made by noteworthy artists themselves. There’s Martin Scorsese waxing luxuriously on Italian cinema (“My Voyage to Italy”), Noah Baumbach and Jake Paltrow fanboy-interviewing Brian DePalma for “DePalma,” and now, German filmmaker Margarethe von Trotta (“Hannah Arendt”) taking us on a personal tour of her lifelong admiration for Sweden’s hallowed grandmaster in the playfully inquisitive “Searching for Ingmar Bergman.”
Von Trotta’s connection to Bergman started when she was a young, New Wave-enamored film lover who responded deeply to his 1957 chess-with-Death masterpiece “The Seventh Seal”; she even opens her valentine of a documentary visiting its famed rocky beach setting, narrating the impact of its establishing shots.
When she blossomed as an artist herself as part of West Germany’s own exciting crush of post-war filmmaking talent alongside...
Von Trotta’s connection to Bergman started when she was a young, New Wave-enamored film lover who responded deeply to his 1957 chess-with-Death masterpiece “The Seventh Seal”; she even opens her valentine of a documentary visiting its famed rocky beach setting, narrating the impact of its establishing shots.
When she blossomed as an artist herself as part of West Germany’s own exciting crush of post-war filmmaking talent alongside...
- 11/9/2018
- by Robert Abele
- The Wrap
The BBC Culture annual critics’ poll has become one of the most anticipated film lists over the last three years. After asking critics to weigh in on the best American films (“Citizen Kane” topped the list), the best films of the 21st century (“Mulholland Drive” in first), and the best comedy movies (“Some Like It Hot” crowned the best), the BBC Culture has turned this year to the 100 greatest achievements in foreign-language film.
This year’s list was curated from top 10 lists from 209 film critics across 43 countries, including IndieWire’s own Kate Erbland and Christian Blauvelt. BBC Culture awarded 10 points to each critics’ first-ranked film, 9 for the second-ranked, and so on down to one. The finalized top 100 list was curated based on this point system.
Sitting on the top of the BBC Culture list is Akira Kurosawa’s “Seven Samurai.” The film’s breathtaking scope and intimate character work has...
This year’s list was curated from top 10 lists from 209 film critics across 43 countries, including IndieWire’s own Kate Erbland and Christian Blauvelt. BBC Culture awarded 10 points to each critics’ first-ranked film, 9 for the second-ranked, and so on down to one. The finalized top 100 list was curated based on this point system.
Sitting on the top of the BBC Culture list is Akira Kurosawa’s “Seven Samurai.” The film’s breathtaking scope and intimate character work has...
- 10/30/2018
- by Zack Sharf
- Indiewire
Somehow, it is now late summer 2018. While the release of films like Solo: A Star Wars Story and Avengers: Infinity War seems long ago, they are represented in this latest rundown of books connected to the world cinema. But there is plenty else, including a classic from Paul Schrader, a juicy look at the Sumner Redstone empire, and a must-buy for fans of Clint Eastwood. Note that this summer also saw the release of David Lynch’s Room to Dream, a memoir co-written with journalist/critic Kristine McKenna. Nick Newman covered the insightful and surprisingly comprehensive book in June, and explains why Dream’s “enlightened restlessness” is so appropriate.
Transcendental Style in Film by Paul Schrader (University of California Press)
With First Reformed still making critical waves and Taylor Swift concert pics going viral, we are in the midst of a Paul Schrader renaissance. (A Schrenaissance!) It is an ideal time,...
Transcendental Style in Film by Paul Schrader (University of California Press)
With First Reformed still making critical waves and Taylor Swift concert pics going viral, we are in the midst of a Paul Schrader renaissance. (A Schrenaissance!) It is an ideal time,...
- 8/14/2018
- by Christopher Schobert
- The Film Stage
I couldn’t go to church on the evening of Good Friday this year, so instead I watched The Passion of Joan of Arc. The choice was solid, for a number of reasons. I watched the completely silent version, said to be the preferred version of its director, Carl Theodore Dreyer, shown at 20fps. Silence behooves the 1928 classic, itself a striking, unforgettable vision, however one may experience it. That said, this is a film that lends itself to a multitude of musical accompaniments, an attribute that Criterion has decidedly utilized with their newly issued Blu-ray upgrade of their initial 1999 DVD release. There are no less than three score options on this disc, each a distinct and worthy experience. One is a more conventional...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 5/9/2018
- Screen Anarchy
Above: 1986 Japanese poster for She’s Gotta Have It (Spike Lee, USA, 1986).In the ten months since I last did a round-up of the most popular posters on Movie Poster of the Day, two things have happened. I’ve slacked off a bit: after running the site since November 2011 and posting one poster every single day for years, in the past year I’ve let my self-appointed task slide a little and have been posting more sporadically. And at the same time it seems that Tumblr is starting to atrophy. At its height my site had over 300,000 followers—it still does officially, but I would guess that a large percentage of those people are no longer still on Tumblr or rarely check their feed. I’m often asked why I don’t up sticks and move to Instagram instead, but while I love Instagram for personal stuff, Tumblr is still...
- 4/12/2018
- MUBI
The Passion of Joan of Arc
Blu ray
Criterion
1928 / 1:33 / 81 Min. / Street Date March 20, 2018
Starring Renée Jeanne Falconetti, Eugene Silvain
Cinematography by Rudolph Maté
Written by Joseph Delteil, Carl Dreyer
Music by Richard Einhorn, Will Gregory, Adrian Utley
Edited by Carl Dreyer, Marguerite Beaugé
Produced and directed by Carl Dreyer
For over a century the story of Joan of Arc has been catnip to an army of filmmakers ranging from DeMille to Bresson. Surrounded by meddlesome producers and difficult divas, maybe those weary moviemakers saw something of themselves in the embattled heroine – but no director had better insight into God’s own rabble-rouser than Carl Dreyer.
90 years on, The Passion of Joan of Arc continues to astonish. Combining the grim-faced piety of Renaissance art with the unvarnished intimacy of depression era portraits, Dreyer’s 1928 masterpiece still has the power to transform the lowliest grindhouse into a cathedral.
In 1417 a trio...
Blu ray
Criterion
1928 / 1:33 / 81 Min. / Street Date March 20, 2018
Starring Renée Jeanne Falconetti, Eugene Silvain
Cinematography by Rudolph Maté
Written by Joseph Delteil, Carl Dreyer
Music by Richard Einhorn, Will Gregory, Adrian Utley
Edited by Carl Dreyer, Marguerite Beaugé
Produced and directed by Carl Dreyer
For over a century the story of Joan of Arc has been catnip to an army of filmmakers ranging from DeMille to Bresson. Surrounded by meddlesome producers and difficult divas, maybe those weary moviemakers saw something of themselves in the embattled heroine – but no director had better insight into God’s own rabble-rouser than Carl Dreyer.
90 years on, The Passion of Joan of Arc continues to astonish. Combining the grim-faced piety of Renaissance art with the unvarnished intimacy of depression era portraits, Dreyer’s 1928 masterpiece still has the power to transform the lowliest grindhouse into a cathedral.
In 1417 a trio...
- 3/13/2018
- by Charlie Largent
- Trailers from Hell
Normal 0 false false false En-us X-none X-none
“The Beauty Of Rapture”
By Raymond Benson
Aside from some of the comedy classics of the silent era, it’s arguable that the one picture of the period you should make a point to see is Carl Th. Dreyer’s The Passion of Joan of Arc, a film that has appeared on Sight and Sound’s top ten films poll five times and consistently cited as one of the most essential motion pictures in history.
That’s high praise, and it’s deserved.
For those of you who won’t watch silent movies because you think they’re boring or slow or whatever—forget it. The Passion of Joan of Arc is one of the most riveting pictures you’ll ever see. Its brevity (only 81 minutes at 24 frames per second) is a strength, but its power lies in the faces of its actors.
“The Beauty Of Rapture”
By Raymond Benson
Aside from some of the comedy classics of the silent era, it’s arguable that the one picture of the period you should make a point to see is Carl Th. Dreyer’s The Passion of Joan of Arc, a film that has appeared on Sight and Sound’s top ten films poll five times and consistently cited as one of the most essential motion pictures in history.
That’s high praise, and it’s deserved.
For those of you who won’t watch silent movies because you think they’re boring or slow or whatever—forget it. The Passion of Joan of Arc is one of the most riveting pictures you’ll ever see. Its brevity (only 81 minutes at 24 frames per second) is a strength, but its power lies in the faces of its actors.
- 3/13/2018
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Michael Mann began his career as a visual storyteller on television. He wrote episodes of Starsky and Hutch, directed the made for TV film The Jericho Mile, and served as executive producer on the groundbreaking and stylish hit Miami Vice. Since the 1980s, Mann has established himself as a highly-influential player in the cinematic canon with artful and tragedy-laden crime films such as Thief, Manhunter, and Heat. His films often include the interweaving and clashing of ideologies between two opposing, yet strikingly similar, characters, the presentation of architecture and cityscapes (typically Los Angeles) that personify the setting as both looming over, and removed from, the action, and devastating violence.
In BFI’s most recent Sight & Sound poll, Mann compiled a list of his 10 favorite films which includes a variety of American classics, game-changing silent masterpieces from the 1920s, and a surprising pair of films from 2009. The broken humanity at the...
In BFI’s most recent Sight & Sound poll, Mann compiled a list of his 10 favorite films which includes a variety of American classics, game-changing silent masterpieces from the 1920s, and a surprising pair of films from 2009. The broken humanity at the...
- 3/7/2018
- by The Film Stage
- The Film Stage
Martin Scorsese is no stranger to The Criterion Collection, but that doesn’t make the announcement that his period drama “The Age of Innocence” will be officially joining the club in March 2018 any less exciting. Scorsese’s 1993 adaptation of Edith Wharton’s seminal novel will join other Scorsese films like “The Last Temptation of Christ” in the Collection.
Read More:‘Silence of the Lambs,’ ‘Night of the Living Dead,’ and More Join Criterion Collection in February 2018
“Innocence” is one of six new movies coming to Criterion in March 2018. Other new additions include Carl Theodor Dreyer’s silent masterpiece “The Passion of Joan of Arc” and Volker Schlöndorff’s largely-unseen “Baal.” You can head over to The Criterion Collection website to pre-order the titles now. Check out all the new additions below. Synopses provided by Criterion.
“Elevator to the Gallows”
For his feature debut, twenty-four-year-old Louis Malle brought together a mesmerizing performance by Jeanne Moreau,...
Read More:‘Silence of the Lambs,’ ‘Night of the Living Dead,’ and More Join Criterion Collection in February 2018
“Innocence” is one of six new movies coming to Criterion in March 2018. Other new additions include Carl Theodor Dreyer’s silent masterpiece “The Passion of Joan of Arc” and Volker Schlöndorff’s largely-unseen “Baal.” You can head over to The Criterion Collection website to pre-order the titles now. Check out all the new additions below. Synopses provided by Criterion.
“Elevator to the Gallows”
For his feature debut, twenty-four-year-old Louis Malle brought together a mesmerizing performance by Jeanne Moreau,...
- 12/15/2017
- by Zack Sharf
- Indiewire
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.
Metrograph
Lynch, Hitchcock, Bride of Frankenstein and more come together in “Goth(ic).”
Letter from an Unknown Woman and The Umbrellas of Cherbourg also screen.
Film Society of Lincoln Center
Rossellini, Murnau, Warhol, Pialat and more screen as part of “The Non-Actor.”
Film Forum
The Passion of Joan of Arc has its final days
One of Murnau’s greatest films,...
Metrograph
Lynch, Hitchcock, Bride of Frankenstein and more come together in “Goth(ic).”
Letter from an Unknown Woman and The Umbrellas of Cherbourg also screen.
Film Society of Lincoln Center
Rossellini, Murnau, Warhol, Pialat and more screen as part of “The Non-Actor.”
Film Forum
The Passion of Joan of Arc has its final days
One of Murnau’s greatest films,...
- 12/1/2017
- by Nick Newman
- The Film Stage
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.
Film Society of Lincoln Center
“The Non-Actor,” a series so big it seems to encompass the entire history of cinema, is now underway.
Quad Cinema
A retrospective of Bertolucci’s Italian films has kicked off.
Restorations of Renoir’s The Crime of Monsieur Lange and Rivette’s La Belle Noiseuse are screening.
Metrograph
Films by Hartley,...
Film Society of Lincoln Center
“The Non-Actor,” a series so big it seems to encompass the entire history of cinema, is now underway.
Quad Cinema
A retrospective of Bertolucci’s Italian films has kicked off.
Restorations of Renoir’s The Crime of Monsieur Lange and Rivette’s La Belle Noiseuse are screening.
Metrograph
Films by Hartley,...
- 11/24/2017
- by Nick Newman
- The Film Stage
I am excited to be premiering Janus Films’ brand new poster for their re-release of The Passion of Joan of Arc, one of my all-time favorite films and one of the most beautiful films ever made. Designed by Eric Skillman, the new poster is simplicity itself, relying on a single still of Maria Falconetti as Joan in her most iconic pose, and although the beauty of Dreyer’s masterpiece is that almost any still from the film would be poster-worthy, this one is perfect. It’s the clarity of the image that carries the poster, and which whets the appetite for the digital restoration it heralds, but the type block below is suitably elegant and restrained.I did a previous feature on the film a few years ago, concentrating on the artwork of the great René Péron, but there are a number of other wonderful designs for the film which...
- 11/10/2017
- MUBI
Aaron is joined by Mark Hurne and Jason Michael to catch up on a month’s worth of Criterion stuff, including January 2018 announcements. We talk about what we got in the latest Flash Sale, many of the recent Janus Films announcements from restoration screenings to posters, and we share some Short Takes that are technically horror, but not too scary.
Episode Notes
6:00 – January 2018 Announcements
29:30 – Flash Sale and Criterion News
59:15 – Short Takes (Cronos, Cat People, The Lure))
1:08:21 – FilmStruck
Episode Links Agnes Varda Closet Picks Filminc – Pandora’s Box Janus Films – The Passion of Joan of Arc Sean Phillip’s Night of the Living Dead poster Janus Films – The Other Side of Hope poster Certain Women – Discussion Thread Federico Luppi Dies at 83 Danielle Darrieux Dies at 100 Episode Credits Aaron West: Twitter | Website | Letterboxd Mark Hurne: Twitter Jason Michael: Twitter | Instagram | Website Criterion Now: Facebook Group Criterion...
Episode Notes
6:00 – January 2018 Announcements
29:30 – Flash Sale and Criterion News
59:15 – Short Takes (Cronos, Cat People, The Lure))
1:08:21 – FilmStruck
Episode Links Agnes Varda Closet Picks Filminc – Pandora’s Box Janus Films – The Passion of Joan of Arc Sean Phillip’s Night of the Living Dead poster Janus Films – The Other Side of Hope poster Certain Women – Discussion Thread Federico Luppi Dies at 83 Danielle Darrieux Dies at 100 Episode Credits Aaron West: Twitter | Website | Letterboxd Mark Hurne: Twitter Jason Michael: Twitter | Instagram | Website Criterion Now: Facebook Group Criterion...
- 10/24/2017
- by Aaron West
- CriterionCast
With Harvey Weinstein gone, the entertainment industry operates under a new ruler: The gut check. He’s now a punching bag to represent abuse by powerful men, but now the real work begins. What about everyone else?
“Harvey is aberrant, to be sure, but no anomaly,” veteran screenwriter and USC professor Howard Rodman wrote me in an email. “He’s a rapist, but not the only rapist in our industry, and not the only serial predator by a very long shot. If we use his evident and overweening guilt to exculpate the rest of us, this will be for naught. What’s needed is a sea change. And maybe — just maybe — its time has come.”
Weinstein’s predation has a very, very long tail; new stories arrive daily, with the Los Angeles Police Dept. now opening an investigation into an alleged rape in 2013. “It’s been such crazy couple of weeks,...
“Harvey is aberrant, to be sure, but no anomaly,” veteran screenwriter and USC professor Howard Rodman wrote me in an email. “He’s a rapist, but not the only rapist in our industry, and not the only serial predator by a very long shot. If we use his evident and overweening guilt to exculpate the rest of us, this will be for naught. What’s needed is a sea change. And maybe — just maybe — its time has come.”
Weinstein’s predation has a very, very long tail; new stories arrive daily, with the Los Angeles Police Dept. now opening an investigation into an alleged rape in 2013. “It’s been such crazy couple of weeks,...
- 10/20/2017
- by Anne Thompson
- Thompson on Hollywood
With Harvey Weinstein gone, the entertainment industry operates under a new ruler: The gut check. He’s now a punching bag to represent abuse by powerful men, but now the real work begins. What about everyone else?
“Harvey is aberrant, to be sure, but no anomaly,” veteran screenwriter and USC professor Howard Rodman wrote me in an email. “He’s a rapist, but not the only rapist in our industry, and not the only serial predator by a very long shot. If we use his evident and overweening guilt to exculpate the rest of us, this will be for naught. What’s needed is a sea change. And maybe — just maybe — its time has come.”
Weinstein’s predation has a very, very long tail; new stories arrive daily, with the Los Angeles Police Dept. now opening an investigation into an alleged rape in 2013. “It’s been such crazy couple of weeks,...
“Harvey is aberrant, to be sure, but no anomaly,” veteran screenwriter and USC professor Howard Rodman wrote me in an email. “He’s a rapist, but not the only rapist in our industry, and not the only serial predator by a very long shot. If we use his evident and overweening guilt to exculpate the rest of us, this will be for naught. What’s needed is a sea change. And maybe — just maybe — its time has come.”
Weinstein’s predation has a very, very long tail; new stories arrive daily, with the Los Angeles Police Dept. now opening an investigation into an alleged rape in 2013. “It’s been such crazy couple of weeks,...
- 10/20/2017
- by Anne Thompson
- Indiewire
Othello
Blu-ray
Criterion
1952 / Black and White / 1:33 / Street Date October 10, 2017
Starring Orson Welles, Suzanne Cloutier, Micheál MacLiammóir
Cinematography by G.R. Aldo, Anchise Brizzi, George Fanto, Alberto Fusi, Oberdan Troiani
Written by William Shakespeare (Adapted by Orson Welles)
Edited by Jenö Csepreghy, Renzo Lucidi, William Morton, Jean Sacha
Produced by Orson Welles, Julien Derode
Directed by Orson Welles
Shakespeare didn’t invent Orson Welles but he did define him; it can be said that if any one director took arms against the slings and arrows of outrageous fortune, it was the man behind Citizen Kane, Touch of Evil and Chimes at Midnight. The 1952 production of Othello is exhibit A.
Filmed over a turbulent three year period in and around Morocco, Venice and Rome, Welles was bedeviled by an ever-changing cast and crew resulting in reshoots by five different cinematographers and assembled by four different editors. The sound recording was a joke.
Blu-ray
Criterion
1952 / Black and White / 1:33 / Street Date October 10, 2017
Starring Orson Welles, Suzanne Cloutier, Micheál MacLiammóir
Cinematography by G.R. Aldo, Anchise Brizzi, George Fanto, Alberto Fusi, Oberdan Troiani
Written by William Shakespeare (Adapted by Orson Welles)
Edited by Jenö Csepreghy, Renzo Lucidi, William Morton, Jean Sacha
Produced by Orson Welles, Julien Derode
Directed by Orson Welles
Shakespeare didn’t invent Orson Welles but he did define him; it can be said that if any one director took arms against the slings and arrows of outrageous fortune, it was the man behind Citizen Kane, Touch of Evil and Chimes at Midnight. The 1952 production of Othello is exhibit A.
Filmed over a turbulent three year period in and around Morocco, Venice and Rome, Welles was bedeviled by an ever-changing cast and crew resulting in reshoots by five different cinematographers and assembled by four different editors. The sound recording was a joke.
- 10/17/2017
- by Charlie Largent
- Trailers from Hell
The Passion Of Joan Of Arc (1928) Screens at 7:o0 Thursday, October 12th at The Schmidt Arts Center on the campus of Southwestern Illinois College in Belleville, Illinois (2500 Carlyle Ave ). The silent film will be accompanied by the Rats & People Motion Picture Orchestra.
Silent films with live music! There’s nothing like it and St. Louis is lucky to have The Rats and People Motion Picture Orchestra here. For the past several years, The Rats and People have actively defined both the local music and film cultures of our city. In addition to its prolific composition and live performance of new scores for films of the silent era, the ensemble – equal parts indie/punk-stalwart and classically trained composers/musicians – have provided the soundtrack for many of St. Louis’ most vital and acclaimed locally-produced contemporary films.
Thursday, October 12th at 7:00pm, The Rats and People Motion Picture Orchestra will perfrom their...
Silent films with live music! There’s nothing like it and St. Louis is lucky to have The Rats and People Motion Picture Orchestra here. For the past several years, The Rats and People have actively defined both the local music and film cultures of our city. In addition to its prolific composition and live performance of new scores for films of the silent era, the ensemble – equal parts indie/punk-stalwart and classically trained composers/musicians – have provided the soundtrack for many of St. Louis’ most vital and acclaimed locally-produced contemporary films.
Thursday, October 12th at 7:00pm, The Rats and People Motion Picture Orchestra will perfrom their...
- 9/28/2017
- by Tom Stockman
- WeAreMovieGeeks.com
Of all the legendary early horror films Carl Theodor Dreyer’s vampire nightmare was once the most difficult to appreciate — until Criterion’s restoration of a mostly intact, un-mutilated full cut. Dreyer creates his fantasy according to his own rules — this pallid, claustrophobic horror is closer to Ordet than it is Dracula or Nosferatu.
Vampyr
Blu-ray
The Criterion Collection 437
1932 / Color / 1:19 Movietone Ap. / 73 min. / available through The Criterion Collection / Street Date October 3, 2017 / 39.95
Starring: Julian West (Baron Nicolas De Gunzberg), Maurice Schutz, Rena Mandel, Sybille Schmitz, Jan Hieronimko, Henriette Gérard.
Cinematography: Rudolph Maté
Art Direction: Hermann Warm
Film Editor: Tonka Taldy
Original Music: Wolfgang Zeller
Written by Carl Theodor Dreyer, Christen Jul from In a Glass Darkly by Sheridan Le Fanu
Produced by Carl Theodor Dreyer, Julian West
Directed by Carl Theodor Dreyer
Carl Theodor Dreyer’s Vampyr is a tough row to hoe for horror fans, many of whom just...
Vampyr
Blu-ray
The Criterion Collection 437
1932 / Color / 1:19 Movietone Ap. / 73 min. / available through The Criterion Collection / Street Date October 3, 2017 / 39.95
Starring: Julian West (Baron Nicolas De Gunzberg), Maurice Schutz, Rena Mandel, Sybille Schmitz, Jan Hieronimko, Henriette Gérard.
Cinematography: Rudolph Maté
Art Direction: Hermann Warm
Film Editor: Tonka Taldy
Original Music: Wolfgang Zeller
Written by Carl Theodor Dreyer, Christen Jul from In a Glass Darkly by Sheridan Le Fanu
Produced by Carl Theodor Dreyer, Julian West
Directed by Carl Theodor Dreyer
Carl Theodor Dreyer’s Vampyr is a tough row to hoe for horror fans, many of whom just...
- 9/19/2017
- by Glenn Erickson
- Trailers from Hell
La Poison
Blu-ray
Criterion
1951 / 1:33 / Street Date August 22, 2017
Starring: Michel Simon, Germaine Reuver
Cinematography: Jean Bachelet
Film Editor: Raymond Lamy
Written by Sacha Guitry
Produced by Jean Le Duc, Alain Poiré
Music: Louiguy
Directed by Sacha Guitry
One of the most insightful commentaries on Sacha Guitry’s La Poison can be found right there on the cover of Criterion’s beautiful new blu ray release, a typically “warts and all” portrait by Drew Freidman of the film’s stars, Michel Simon and Germaine Reuver. The film’s diabolic mix of humor and horror is illuminated by Freidman’s precise rendering of Simon’s sagging jowls, Reuver’s venomous stare and the dingy trappings of the cramped little kitchen that threatens to suffocate these damned souls before they can get around to killing each other.
Filmed in just eleven days in 1951 by the speedy Guitry, La Poison tells the story of...
Blu-ray
Criterion
1951 / 1:33 / Street Date August 22, 2017
Starring: Michel Simon, Germaine Reuver
Cinematography: Jean Bachelet
Film Editor: Raymond Lamy
Written by Sacha Guitry
Produced by Jean Le Duc, Alain Poiré
Music: Louiguy
Directed by Sacha Guitry
One of the most insightful commentaries on Sacha Guitry’s La Poison can be found right there on the cover of Criterion’s beautiful new blu ray release, a typically “warts and all” portrait by Drew Freidman of the film’s stars, Michel Simon and Germaine Reuver. The film’s diabolic mix of humor and horror is illuminated by Freidman’s precise rendering of Simon’s sagging jowls, Reuver’s venomous stare and the dingy trappings of the cramped little kitchen that threatens to suffocate these damned souls before they can get around to killing each other.
Filmed in just eleven days in 1951 by the speedy Guitry, La Poison tells the story of...
- 9/4/2017
- by Charlie Largent
- Trailers from Hell
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.