Updated with minor clarifications from Martiros Vartanov. The Academy Museum of Motion Pictures is shining a spotlight on one of the most revered filmmakers in cinema history.
On Friday evening the museum in Los Angeles will screen a restored version of visionary Armenian filmmaker and poet Sergei Parajanov’s 1969 classic The Color of Pomegranates, marking the 100th anniversary of his birth. In addition, the museum is premiering the newly restored Parajanov: The Last Spring, a documentary about Parajanov directed by Soviet-born filmmaker and cinematographer Mikhail Vartanov.
The Color of Pomegranates, a visually metamorphic and hybrid narrative, follows the life of the great 18th century Armenian poet and musician, Sayat Nova. Oscillating between stillness and movement – Pomegranates is a mesmerizing wide-canvas painting on film and has been hailed as one of the greatest movies of all time in various polls conducted by Movieline, Time Out, and the British Film Institute’s magazine,...
On Friday evening the museum in Los Angeles will screen a restored version of visionary Armenian filmmaker and poet Sergei Parajanov’s 1969 classic The Color of Pomegranates, marking the 100th anniversary of his birth. In addition, the museum is premiering the newly restored Parajanov: The Last Spring, a documentary about Parajanov directed by Soviet-born filmmaker and cinematographer Mikhail Vartanov.
The Color of Pomegranates, a visually metamorphic and hybrid narrative, follows the life of the great 18th century Armenian poet and musician, Sayat Nova. Oscillating between stillness and movement – Pomegranates is a mesmerizing wide-canvas painting on film and has been hailed as one of the greatest movies of all time in various polls conducted by Movieline, Time Out, and the British Film Institute’s magazine,...
- 4/18/2024
- by Sunil Sadarangani
- Deadline Film + TV
Faraz Fesharaki reveals himself a poet of the digital era with “What Did You Dream Last Night, Parajanov?”. The Iranian German filmmaker's first feature released just weeks ago at Berlinale 2024, a home festival for the of the German Film and Television Academy Berlin (Dffb). Now, the film will continue on abroad, with an upcoming international premiere this week at First Look with the Museum of the Moving Image's (MoMI).
What Did You Dream Last Night, Parajanov? is screening at MoMi, as part of the First Look 2024 program
“What Did You Dream Last Night, Parajanov?” opens with the wavering scanlines of a Crt screen. The curtains pull back to reveal a recording of an elementary school chorus in Iran. Like any amateur video, the footage is grainy; the view quivers with the shakiness of a handheld camera. A girl recites into the microphone – “Rise, oh children, rise!” – whilst two rows...
What Did You Dream Last Night, Parajanov? is screening at MoMi, as part of the First Look 2024 program
“What Did You Dream Last Night, Parajanov?” opens with the wavering scanlines of a Crt screen. The curtains pull back to reveal a recording of an elementary school chorus in Iran. Like any amateur video, the footage is grainy; the view quivers with the shakiness of a handheld camera. A girl recites into the microphone – “Rise, oh children, rise!” – whilst two rows...
- 3/15/2024
- by Grace Han
- AsianMoviePulse
UK producer David P Kelly has come on board Zara Jian’s hybrid documentary drama I Will Revenge This World With Love celebrating Armenia’s greatest filmmaker Sergei Paradjanov.
Jian is shooting material at the Berlinale with Canadian-Armenian director Atom Egoyan, whose The Seven Veils screens as a Berlinale Special. Paradjanov (1924-90) directed Shadows Of Forgotten Ancestors and The Colour Of Pomegranates.
Double Palme D’Or winner Emir Kusturica, Joel Chapiron, and Lora Guerra are on board the project, which is being set up as an Armenian-French-uk coproduction with support from the Cnc in France and the National Cinema Centre of Armenia.
Jian is shooting material at the Berlinale with Canadian-Armenian director Atom Egoyan, whose The Seven Veils screens as a Berlinale Special. Paradjanov (1924-90) directed Shadows Of Forgotten Ancestors and The Colour Of Pomegranates.
Double Palme D’Or winner Emir Kusturica, Joel Chapiron, and Lora Guerra are on board the project, which is being set up as an Armenian-French-uk coproduction with support from the Cnc in France and the National Cinema Centre of Armenia.
- 2/19/2024
- ScreenDaily
Above: Soviet-export poster for Ashik Kerib. Design by “Lem.”On January 9 of this year, the legendary, often beleaguered and utterly sui generis filmmaker Sergei Parajanov would have turned 100 years old. Parajanov was born in Tbilisi, Georgia, in 1924 to Armenian parents, just seven years after the Russian Revolution. He died in Yerevan, Armenia, in 1990 at the age of 66, only a year before the dissolution of the Soviet Union. His life and career were very much defined by the strictures of the Ussr, including four years spent in a labor camp in the mid-’70s on trumped-up charges of crimes against the state, and numerous personal projects that were banned, censored, or shut down by Soviet film administrations.One of the world’s most exceptional filmmakers, Parajanov managed to make only eight feature films in his four-decade-long career. His first four socialist realist features were made at the Dovzhenko Film Studios in Kyiv and,...
- 1/26/2024
- MUBI
In most fantasy movies, the job of the production team is to create a breathtaking new world that dazzles the viewer, but this Oscar season shows a new trend: stories in which the characters themselves are taken on a journey of discovery and adventure.
In Poor Things, a young woman named Bella is brought back to life by a mad surgeon and goes sightseeing in Europe. In The Marvels, the MCU’s new worlds are seen through the awed eyes of Captain Marvel’s protégée, Kamala Khan. And in Barbie, the Mattel superstar leaves her perfect life to sample the unknown pleasures of the real world…
‘Poor Things’ Lisbon set
Poor Things
For Yorgos Lanthimos’ screen adaptation of Poor Things, the director was interested in the premise of making a 1930s-style movie with the technology of today. This meant that production designers Shona Heath and James Price were given the...
In Poor Things, a young woman named Bella is brought back to life by a mad surgeon and goes sightseeing in Europe. In The Marvels, the MCU’s new worlds are seen through the awed eyes of Captain Marvel’s protégée, Kamala Khan. And in Barbie, the Mattel superstar leaves her perfect life to sample the unknown pleasures of the real world…
‘Poor Things’ Lisbon set
Poor Things
For Yorgos Lanthimos’ screen adaptation of Poor Things, the director was interested in the premise of making a 1930s-style movie with the technology of today. This meant that production designers Shona Heath and James Price were given the...
- 11/25/2023
- by Ryan Fleming
- Deadline Film + TV
Made in Russian at Odesa Film Studio in the aftermath of de-Stalinization, Kira Muratova’s Brief Encounters and The Long Farewell nonetheless faced censorship for ignoring the precepts of socialist realism. They make for fruitful viewing as a diptych, sharing in certain themes, motifs, and, above all, a rulebook-shredding attitude to cinematic form. Neither overtly criticize Soviet life, yet they smuggle in a discontent that’s detectable less by what they condemn than by what they frame instead: the domestic, the psychological, the interpersonal. What’s surprising isn’t that they got banned, but that Muratova managed to get them made at all. Now especially, watching these two films feels like something of a miracle.
Brief Encounters, from 1967, tells the story of Nadya (Nina Ruslanova), a young woman who leaves her village to work as a housekeeper for Valya (Muratova), committee member to a provincial Odesa district, and her husband,...
Brief Encounters, from 1967, tells the story of Nadya (Nina Ruslanova), a young woman who leaves her village to work as a housekeeper for Valya (Muratova), committee member to a provincial Odesa district, and her husband,...
- 8/22/2023
- by William Repass
- Slant Magazine
April marks Armenian Heritage Month in Los Angeles County, and more broadly, April 24 is Armenian Genocide Remembrance Day for Armenians worldwide — both at home and across the diaspora. It commemorates the more than 1.5 million victims of the Armenian Genocide — orchestrated by the Ottoman Empire in 1915 — and is observed as a day of mourning, as well as a celebration of Armenian culture, heritage and the ethnic group’s tenacious spirit.
While representation of Armenian narratives in film is lacking in mainstream entertainment, there are several underrated gems and long-hailed classics through which you can learn more about and celebrate Armenian heritage, from Sergei Parajanov’s poetic masterpiece “The Color of Pomegranates” to Sean Baker’s iPhone-shot indie “Tangerine.” Hailing from acclaimed international and US-based auteurs, TheWrap’s list covers a range of genres, including war dramas, documentaries and comedies — both old and new. Below, we outline 11 of the must-watch movies highlighting...
While representation of Armenian narratives in film is lacking in mainstream entertainment, there are several underrated gems and long-hailed classics through which you can learn more about and celebrate Armenian heritage, from Sergei Parajanov’s poetic masterpiece “The Color of Pomegranates” to Sean Baker’s iPhone-shot indie “Tangerine.” Hailing from acclaimed international and US-based auteurs, TheWrap’s list covers a range of genres, including war dramas, documentaries and comedies — both old and new. Below, we outline 11 of the must-watch movies highlighting...
- 4/24/2022
- by Natalie Oganesyan
- The Wrap
Biff also announced 12 world premiere titles for its Korean Cinema Today - Vision section.
The 26th Busan International Film Festival has revealed 11 selections for its New Currents main competition, including Korea-Japan co-production Missing, directed by Katayama Shinzo, a former assistant director to Bong Joon Ho.
The New Currents competition is made up of directors’ first and second features. They will be eligible to win the two New Currents Awards, the New Currents Audience Award, the Netpac Award, and the Fipresci Award.
Katayama worked with Bong on his installment for the omnibus film Tokyo! (2008) and Mother (2009), both of which went to Cannes.
The 26th Busan International Film Festival has revealed 11 selections for its New Currents main competition, including Korea-Japan co-production Missing, directed by Katayama Shinzo, a former assistant director to Bong Joon Ho.
The New Currents competition is made up of directors’ first and second features. They will be eligible to win the two New Currents Awards, the New Currents Audience Award, the Netpac Award, and the Fipresci Award.
Katayama worked with Bong on his installment for the omnibus film Tokyo! (2008) and Mother (2009), both of which went to Cannes.
- 9/1/2021
- by Jean Noh
- ScreenDaily
Two films each from India, Iran and South Korea feature in the eleven-title New Currents competition that is at the heart of the Busan International Film Festival.
The festival this year will be operated as an in-person event Oct 6-15, 2021. But with Korea’s ongoing restrictions on cross-border travel, it may be a less international gathering.
From India, Natesh Hegde’s “Pedro” depicts the difficult situation of an electrician living in a forest village and the forest’s cinematic transformation. “House of Time,” co-directed by Rajdeep Paul and Sarmistha Maiti, is a suspense story of a doctor who is locked in a house that is occupied by three women.
Two films were selected from Iran. Directed by Arvand Dashtaray, “The Absent Director” depicts a theater director haplessly attempting to conduct a rehearsal for a play through video calls. The film is a unique piece of work that is shot in single-take style without cuts.
The festival this year will be operated as an in-person event Oct 6-15, 2021. But with Korea’s ongoing restrictions on cross-border travel, it may be a less international gathering.
From India, Natesh Hegde’s “Pedro” depicts the difficult situation of an electrician living in a forest village and the forest’s cinematic transformation. “House of Time,” co-directed by Rajdeep Paul and Sarmistha Maiti, is a suspense story of a doctor who is locked in a house that is occupied by three women.
Two films were selected from Iran. Directed by Arvand Dashtaray, “The Absent Director” depicts a theater director haplessly attempting to conduct a rehearsal for a play through video calls. The film is a unique piece of work that is shot in single-take style without cuts.
- 9/1/2021
- by Patrick Frater
- Variety Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAbove: Sonny Chiba in Kill Bill: Volume 1 (2003). Sonny Chiba, the prolific and singular actor, martial artist and choreographer, has died at the age of 82.New York Film Festival has unveiled its Currents section, featuring a strong slate that includes Artavazd Peleshian, Ted Fendt, Shengze Zhu, Christopher Harris, Shireen Seno, Matías Piñeiro and more. NYFF will also be screening seven programs dedicated to the centenary of the late film programmer and festival co-founder Amos Vogel. The retrospective includes works by Glauber Rocher, Oskar Fischinger, and Dušan Makavejev. The Berwick Film & Media Arts Festival has announced its lineup. This year's Focus program will showcase the works of Cambodian production company Anti-Archive, Nguyễn Trinh Thí, Rajee Samarasinghe, and Sps Community Media. Organized by Arsenal – Institute for Film and Video Art, Archival Assembly #1 will take place from...
- 8/25/2021
- MUBI
Arguably among the most beautiful works of cinema, Sergei Parajanov’s “The Colour of Pomegranates” has been called a work of lasting artistry, offering breathtaking imagery while also giving what might just be the most accurate account of the poet’s mind. In this case, the poet in question is Sayat-Nova, an Armenian poet and troubadour, whose life and work is the foundation for Parajanov’s film which was originally titled after the poet himself. However, when the Soviet censors laid eyes on the finished film, the argued Parajanov’s movie does not give a portrayal of the poet, nothing about his fame and importance for literature or indeed for the country, a dispute which eventually resulted in the censors re-naming the film “The Colour of Pomegranates” and the removal of all references to Sayat-Nova in the film.
Considering it does not follow a traditional, linear narrative,...
Considering it does not follow a traditional, linear narrative,...
- 3/30/2020
- by Rouven Linnarz
- AsianMoviePulse
Along with Andrei Tarkovsky, filmmaker Sergei Paradjanov is perhaps one of the most popular and beloved directors of the former Soviet Union. Interestingly, both men not only shared a deep friendship with each other and supported the other’s artistic endeavors, but also quite frequently had trouble with the Soviet authorities for the nature of their films. In his 1986 published essay “Sculpting in Time”, Tarkovsky mentions his frustrations with a Ministry of Culture that had very strict, and of course ideology-friendly ideas about how a film should look like, who the characters and what the plot structure should be. While Paradjanov followed these principles in his early career, he later changed the nature of his work, famously calling all of his films before 1965 “garbage”.
“Shadows of Forgotten Ancestors” will screen at Hong Kong International Film Festival Society
Ultimately, the film which would be the first to introduce the world to...
“Shadows of Forgotten Ancestors” will screen at Hong Kong International Film Festival Society
Ultimately, the film which would be the first to introduce the world to...
- 12/16/2019
- by Rouven Linnarz
- AsianMoviePulse
The Hong Kong International Film Festival Society will kick off its 2020 Cine Fan programme with more cinematic gems in its January/February edition, including the delicately sublime dramas of Naruse Mikio and the magical realism-infused romance of Sergei Parajanov.
One of the most prolific and respected masters of Japanese cinema, Naruse Mikio is lauded for his realistic dramas of domestic life and his sympathetic portraits of women. The Cine Fan retrospective, entitled Life is But an Illusion: The Cinema of Naruse Mikio, features 12 of his most iconic works, including some rarely seen outside of Japan. Thematically curated in three separate sections, it showcases Naruse’s uncanny ability in the portrayal of artistic reflection, marital dilemmas and social transformations.
Still from “Flowing”
Under Love/Art, Naruse’s quietly devastating camera captured the dichotomy between artistic excellence and elusive love in his four-film collaboration with the legendary actress Yamada Isuzu in Tsuruhachi...
One of the most prolific and respected masters of Japanese cinema, Naruse Mikio is lauded for his realistic dramas of domestic life and his sympathetic portraits of women. The Cine Fan retrospective, entitled Life is But an Illusion: The Cinema of Naruse Mikio, features 12 of his most iconic works, including some rarely seen outside of Japan. Thematically curated in three separate sections, it showcases Naruse’s uncanny ability in the portrayal of artistic reflection, marital dilemmas and social transformations.
Still from “Flowing”
Under Love/Art, Naruse’s quietly devastating camera captured the dichotomy between artistic excellence and elusive love in his four-film collaboration with the legendary actress Yamada Isuzu in Tsuruhachi...
- 12/12/2019
- by Rouven Linnarz
- AsianMoviePulse
Since the birth of the medium, films have ventured intrepidly into hell. From the moment Georges Méliès put Satan’s lair on screen in 1903’s The Damnation of Faust, all manner of filmmakers have wrangled with their own visions of the netherworld—from the minds behind myriad torturous horrors and screwball comedies to art-house behemoths such as Jean-Luc Godard, in Notre musique (2004). Canadian filmmaker Stephen Broomer’s entry into this century-old pantheon, Tondal’s Vision, is a tribute to one early cinematic journey into the underworld and to various other artistic katabasis while remaining a truly singular rendering. At once thrilling and terrifying, the film seems to recall that line in Milton’s Paradise Lost: “The mind is its own place, and in itself can make a heaven of hell, a hell of heaven…”The physical source material for Broomer’s vision is Giuseppe de Liguoro, Francesco Bertolini, and...
- 8/12/2019
- MUBI
Death, dying, and the grieving process can be a personal and unique experience. For each individual who must endure watching someone leave, mourn the death of someone important in their lives, and ultimately grieve the fact that life will proceed without that person in their lives, the process can be a mixture of emotions both good and bad. But it is a process that is wholly unique for the individual.
In some cultures, this process has a defined set of steps that must be followed. For Native American tribes, the grieving practice is often incorporated into the processing of the burial arrangements, with each tribal community having a different set of operations that are incorporated into the traditional practices. Some of these specific practices are vastly different, oftentimes misunderstood or challenged by non-tribal people, from the “normal” process demonstrated throughout traditional America. But when you break it down, all the...
In some cultures, this process has a defined set of steps that must be followed. For Native American tribes, the grieving practice is often incorporated into the processing of the burial arrangements, with each tribal community having a different set of operations that are incorporated into the traditional practices. Some of these specific practices are vastly different, oftentimes misunderstood or challenged by non-tribal people, from the “normal” process demonstrated throughout traditional America. But when you break it down, all the...
- 7/3/2019
- by Monte Yazzie
- DailyDead
Ari Aster’s sophomore feature Midsommar isn’t a horror movie in the typical sense—or, at least, that’s what the marketing campaign of its U.S. distributor A24 (to say nothing of the critical discourse surrounding the film) would have you believe. Made directly following the success of his acclaimed debut Hereditary (2018), the film reportedly started out as a slasher movie, and although it's now something quite different, it retains the general framework of one. The deaths of its principal characters are less a matter of if, but when, and are presented with enough gruesome variation to satisfy even the most avid gore-hounds. But as Midsommar unfolds predominantly under Sweden’s “midnight sun,” the film has the supposed distinction of being the brightest horror film ever made, with more than a few scenes blindingly, intentionally overexposed in a transparent bid for that superlative. It is also, we are meant to gather,...
- 7/2/2019
- MUBI
Iffr, the international film festival of Rotterdam has announced a number of exciting titles, including Soudade Kaadan’s ‘The Day I Lost My Shadow’, Brian Welsh’s ‘Beats’ and Simona Kostova’s ‘Dreissig’.
This year’s theme programs touch on espionage, memes, (un)finished films, new Afro-Brazilian cinema and the ‘reappraisal of hushed, quiet attention to film’.
Click here for a first overview of 2019’s program.
Bero Beyer , Dirextor of Iffr ( photo credit: Jan de Groen)
Iffr arts program is featuring a new artwork by Philippe Parreno, director and writer, known for Zidane: A 21st Century Portrait(2006), Le pont du trieur (2000) and Anywhen in a Timecolored place (2016) called No More Reality (1988–2018), a special installation screening of Jean-Luc Godard’s Le livre d’image and a thought-provoking presentation of never-before-seen outtakes from Sergei Parajanov’s classic film The Colour of Pomegranates. One of the 20th century’s greatest masters of cinema,...
This year’s theme programs touch on espionage, memes, (un)finished films, new Afro-Brazilian cinema and the ‘reappraisal of hushed, quiet attention to film’.
Click here for a first overview of 2019’s program.
Bero Beyer , Dirextor of Iffr ( photo credit: Jan de Groen)
Iffr arts program is featuring a new artwork by Philippe Parreno, director and writer, known for Zidane: A 21st Century Portrait(2006), Le pont du trieur (2000) and Anywhen in a Timecolored place (2016) called No More Reality (1988–2018), a special installation screening of Jean-Luc Godard’s Le livre d’image and a thought-provoking presentation of never-before-seen outtakes from Sergei Parajanov’s classic film The Colour of Pomegranates. One of the 20th century’s greatest masters of cinema,...
- 12/28/2018
- by Sydney Levine
- Sydney's Buzz
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,...
- 12/13/2018
- MUBI
“Life is color.”
Ever since the 1979 Islamic revolution in Iran resulting in a drastic change in the country as a whole, its relationship to the world has always been troublesome to say the least. Leaving the political debates aside for a moment, its views on religious issues, women and culture have led to some rather schizophrenic works, for example, in the world of film. While directors such as Asghar Farhadi (“About Elly”) create works of social criticism, showing the state not as the antagonist of the story, but more like a silent, omnipresent entity influencing the lives of people, others have been censored and even put under house arrest. In his documentary “This Is Not a Film” (2011), Jafar Panahi shows how he deals with the ban of his films in his home country, the fears he and his family have to go through as an excruciating search for answers in...
Ever since the 1979 Islamic revolution in Iran resulting in a drastic change in the country as a whole, its relationship to the world has always been troublesome to say the least. Leaving the political debates aside for a moment, its views on religious issues, women and culture have led to some rather schizophrenic works, for example, in the world of film. While directors such as Asghar Farhadi (“About Elly”) create works of social criticism, showing the state not as the antagonist of the story, but more like a silent, omnipresent entity influencing the lives of people, others have been censored and even put under house arrest. In his documentary “This Is Not a Film” (2011), Jafar Panahi shows how he deals with the ban of his films in his home country, the fears he and his family have to go through as an excruciating search for answers in...
- 12/11/2018
- by Rouven Linnarz
- AsianMoviePulse
“Art, no matter how high it rises, cannot forget the land which birthed it.” - Martiros Saryan. That quote, by a prominent Armenian painter, begins The Color of Armenian Land, a scarcely seen short documentary by Mikhail Vartanov which, at least in part, documents the making of The Color of Pomegranates, Sergei Parajanov’s historic film of tableau and symbolism. While many cinephiles work overtime to separate great art from any repulsive behaviors of its artist, Saryan, by way of Vartanov, and now by way of the Criterion Collection, remind us that art, its artists, and the lands from which they hail, are all of a piece. ...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 5/16/2018
- Screen Anarchy
It’s difficult to approach Sergei Parajanov’s 1969 masterpiece The Color of Pomegranates without the permeation of the troubled history of both its reception and its filmmaker. A suppressed jewel of Soviet Cinema, the mystically imagined biopic of eighteenth-century Armenian troubadour Sayat-Nova is stuffed with folk symbolism. In contemporary terminology, Parajanov’s approach would most likely be labeled as an art-house fever dream, an idiosyncratic (or esoteric) challenge to conceptions of linear, biographically inspired cinema. Parajanov’s signature title wasn’t available outside of the Soviet Union until 1983, which also saw the resurrection of Parajanov’s career as a director. Banned upon its initial…...
- 4/24/2018
- by Nicholas Bell
- IONCINEMA.com
Apologies for the lateness of this posting, but since it's just you and me here, devoted fans of classy and extremely well-presented home video, allow me to say: the Criterion Collection's lineup is getting more and more exciting! In April 2018, the company plans to release two strikingly different black and white films: Leo McCarey's wonderful comedy The Awful Truth, starring Cary Grant, Irene Dunne and Ralph Bellamy; and Jim Jarmusch's Dead Man, his first period picture, starring Johnny Depp. Sofia Coppola's strikingly subduedl The Virgin Suicides and Sergei Parajanov's The Color of Pomegranates -- about which I know nothing -- and a bevy of Bergman. The latter is part of Criterion's no-frills Eclipse line and will allow fans of the fab Ingrid Berman to...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 1/19/2018
- Screen Anarchy
Sofia Coppla acclaimed directorial debut “The Virgin Suicides” will be joining the Criterion Collection this April with a 4K digital restoration supervised by cinematographer Ed Lachman and approved by Coppola. The release is the highlight of the April 2018 additions, which also include Jim Jarmusch’s “Dead Man,” Sergei Parajanov’s “The Color of Pomegranates,” and Leo McCarey’s “The Awful Truth.”
Read More:Sofia Coppola: How She Survived ‘The Beguiled’ Backlash, Why She Won’t Do TV, and Why Her Dad is ‘Over’ Film
In addition to the 4K restoration, “The Virgin Suicides” Criterion release will also include new interviews with Coppola, actors Kirsten Dunst and Josh Hartnett, author Jeffrey Eugenides, and writer Tavi Gevinson. Coppola’s 1998 short film “Lick the Star” will also be included as a bonus feature, as will a making-of documentary directed by Sofia’s mother, filmmaker Eleanor Coppola. The movie is now available to...
Read More:Sofia Coppola: How She Survived ‘The Beguiled’ Backlash, Why She Won’t Do TV, and Why Her Dad is ‘Over’ Film
In addition to the 4K restoration, “The Virgin Suicides” Criterion release will also include new interviews with Coppola, actors Kirsten Dunst and Josh Hartnett, author Jeffrey Eugenides, and writer Tavi Gevinson. Coppola’s 1998 short film “Lick the Star” will also be included as a bonus feature, as will a making-of documentary directed by Sofia’s mother, filmmaker Eleanor Coppola. The movie is now available to...
- 1/16/2018
- by Zack Sharf
- Indiewire
Gregory's Girl
New events were announced yesterday for next year's Glasgow Film Festival. They include a school disco and a special tribute to the greatest films never made.
Following in the footsteps of the festivals previous wildly successful event nights, the school disco will be held in SWG3 and will give attendees a choice between watching Gregory's Girl or Clueless before the dancing begins. Football strips and prom dresses are encouraged. "We can’t wait to let our hair down and relive our youth," said festival co-director Allison Gardner.
The Unfilmables will bring together Oscar-nominated composer Mica Levi, video artist Francesca Levi and electronic pioneers Wrangler for music and film including The Colour Of Chips (a UK-set re-imagining of Sergei Parajanov’s The Colour Of Pomegranates) and The Tourist (based on) Claire Noto’s Seventies script, long-regarded as one of the greatest science fiction films never to make it to the big screen).
Sacred Paws,...
New events were announced yesterday for next year's Glasgow Film Festival. They include a school disco and a special tribute to the greatest films never made.
Following in the footsteps of the festivals previous wildly successful event nights, the school disco will be held in SWG3 and will give attendees a choice between watching Gregory's Girl or Clueless before the dancing begins. Football strips and prom dresses are encouraged. "We can’t wait to let our hair down and relive our youth," said festival co-director Allison Gardner.
The Unfilmables will bring together Oscar-nominated composer Mica Levi, video artist Francesca Levi and electronic pioneers Wrangler for music and film including The Colour Of Chips (a UK-set re-imagining of Sergei Parajanov’s The Colour Of Pomegranates) and The Tourist (based on) Claire Noto’s Seventies script, long-regarded as one of the greatest science fiction films never to make it to the big screen).
Sacred Paws,...
- 12/13/2017
- by Jennie Kermode
- eyeforfilm.co.uk
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
Carol (Todd Haynes)
From the first note of Carter Burwell‘s magnificent score and opening shot of Edward Lachman’s ravishing cinematography — introducing a Brief Encounter-esque opening bookend — Todd Haynes transports one to an intoxicating world of first love and its requisite heartbreak. Carol excels at being many things: a romantic drama; a coming-of-age story; an exploration of family dynamics and social constructs of the time; an acting...
Carol (Todd Haynes)
From the first note of Carter Burwell‘s magnificent score and opening shot of Edward Lachman’s ravishing cinematography — introducing a Brief Encounter-esque opening bookend — Todd Haynes transports one to an intoxicating world of first love and its requisite heartbreak. Carol excels at being many things: a romantic drama; a coming-of-age story; an exploration of family dynamics and social constructs of the time; an acting...
- 9/22/2017
- by Jordan Raup
- 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.
Kings Theatre
Barry Lyndon will screen with a live orchestra on Saturday night.
Museum of the Moving Image
The Color of Pomegranates, The Red Shoes, and an avant-garde program will show this Sunday as part of Scorsese’s restoration series
Metrograph
“The Singularity” continues with more sci-fi essentials.
Two Altman films screen on Saturday.
Newman,...
Kings Theatre
Barry Lyndon will screen with a live orchestra on Saturday night.
Museum of the Moving Image
The Color of Pomegranates, The Red Shoes, and an avant-garde program will show this Sunday as part of Scorsese’s restoration series
Metrograph
“The Singularity” continues with more sci-fi essentials.
Two Altman films screen on Saturday.
Newman,...
- 4/7/2017
- by Nick Newman
- The Film Stage
Emma Watson has no shame in her beauty game!
The Beauty and the Beast star recently opened up to Into the Gloss about her favorite cosmetics. Not only does she reveal what's in her go-to makeup bag, but she also gets candid on the product she uses, ahem, down there.
Watch: Emma Watson Reveals Which Celeb Had Her Starstruck at the 'Beauty and the Beast' Premiere
"It's funny -- I was just talking to my friend before this about how in the Instagram era it's so easy to edit your life so that it looks perfect," she confessed. "But I bleach my top lip and tweeze my eyebrows and you'd never get to see that, even though it's a part of my routine. There's still so much shame around the things you do to get ready while you've got a towel wrapped around your head."
"It's important to me not to edit that out," she...
The Beauty and the Beast star recently opened up to Into the Gloss about her favorite cosmetics. Not only does she reveal what's in her go-to makeup bag, but she also gets candid on the product she uses, ahem, down there.
Watch: Emma Watson Reveals Which Celeb Had Her Starstruck at the 'Beauty and the Beast' Premiere
"It's funny -- I was just talking to my friend before this about how in the Instagram era it's so easy to edit your life so that it looks perfect," she confessed. "But I bleach my top lip and tweeze my eyebrows and you'd never get to see that, even though it's a part of my routine. There's still so much shame around the things you do to get ready while you've got a towel wrapped around your head."
"It's important to me not to edit that out," she...
- 3/7/2017
- Entertainment Tonight
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.
Vanity Fair has an oral history celebrating the 20th anniversary of one of the 1990s best films, Clueless.The line-up for the 2015 Locarno Film Festival has yet to be revealed, but the fest has just announced the news that new films by Hong Sang-soo (Right Now, Wrong Then) and Andrej Zulawski (Cosmos) will be shown.Ace electronica musician Nicolas Jaar has released a free download of his re-scoring of Sergei Parajanov's The Color of Pomegranates.One of our very favorite filmmakers, Claire Denis, is set to make her English-language feature debut, collaborating with writer Zadie Smith and artist Olafur Eliasson. Denis and Eliasson previously collaborated on the above short film.The A.V. Club has an essential interview exploring a side of filmmaking rarely talked about in public, asking...
Vanity Fair has an oral history celebrating the 20th anniversary of one of the 1990s best films, Clueless.The line-up for the 2015 Locarno Film Festival has yet to be revealed, but the fest has just announced the news that new films by Hong Sang-soo (Right Now, Wrong Then) and Andrej Zulawski (Cosmos) will be shown.Ace electronica musician Nicolas Jaar has released a free download of his re-scoring of Sergei Parajanov's The Color of Pomegranates.One of our very favorite filmmakers, Claire Denis, is set to make her English-language feature debut, collaborating with writer Zadie Smith and artist Olafur Eliasson. Denis and Eliasson previously collaborated on the above short film.The A.V. Club has an essential interview exploring a side of filmmaking rarely talked about in public, asking...
- 7/1/2015
- by Notebook
- MUBI
Edited by Adam Cook
The lineup for this year's New Directors/New Films, "presented jointly by the Film Society of Lincoln Center and The Museum of Modern Art," has been announced. "For the Birds": Richard Brody picks on the Academy Awards. There's an intriguing new film journal on the scene: "The Completist," authored by Rumsey Taylor. Head over to the site to read his "Statement of Intentions". Described as being "roughly quarterly", we're looking forward to future instalments. In Film Comment, Tanner Tafelski writes on the films of John Korty:
"Carroll Ballard, Francis Ford Coppola, George Lucas, Philip Kaufman, and Michael Ritchie all are, or were, San Francisco–based filmmakers. Yet none of these people seem to be Bay Area filmmakers like Martin Scorsese, Abel Ferrara, or Spike Lee are New York filmmakers. Avant-garde cinema, on the other hand, has a rich history with the West Coast in general,...
The lineup for this year's New Directors/New Films, "presented jointly by the Film Society of Lincoln Center and The Museum of Modern Art," has been announced. "For the Birds": Richard Brody picks on the Academy Awards. There's an intriguing new film journal on the scene: "The Completist," authored by Rumsey Taylor. Head over to the site to read his "Statement of Intentions". Described as being "roughly quarterly", we're looking forward to future instalments. In Film Comment, Tanner Tafelski writes on the films of John Korty:
"Carroll Ballard, Francis Ford Coppola, George Lucas, Philip Kaufman, and Michael Ritchie all are, or were, San Francisco–based filmmakers. Yet none of these people seem to be Bay Area filmmakers like Martin Scorsese, Abel Ferrara, or Spike Lee are New York filmmakers. Avant-garde cinema, on the other hand, has a rich history with the West Coast in general,...
- 2/25/2015
- by Notebook
- MUBI
New York Film Festival isn't just about the new. Here is Glenn on the restoration of Sergei Parajanov's 1968 avant-garde classic 'The Color of Pomegranates'.
Conversing at a bar last Friday night after the premiere Nyff screening of David Fincher’s Gone Girl, I mentioned to Nathaniel that I knew what shot I would choose for “Hit Me With Your Best Shot”. I’m not sure about you, but I frequently find myself attempting to work out what my selection would be when I watch a movie. As I’ve mentioned previously, I am very much into the visual and formal aspects of a film so whether it’s a cheap horror movie or a prestige epic my eyes attempt to scope these things out.
Which brings me to the restoration of Sergei Parajanov’s The Colour of Pomegranates (also known as Sayat Nova). This, quite frankly, is...
Conversing at a bar last Friday night after the premiere Nyff screening of David Fincher’s Gone Girl, I mentioned to Nathaniel that I knew what shot I would choose for “Hit Me With Your Best Shot”. I’m not sure about you, but I frequently find myself attempting to work out what my selection would be when I watch a movie. As I’ve mentioned previously, I am very much into the visual and formal aspects of a film so whether it’s a cheap horror movie or a prestige epic my eyes attempt to scope these things out.
Which brings me to the restoration of Sergei Parajanov’s The Colour of Pomegranates (also known as Sayat Nova). This, quite frankly, is...
- 10/1/2014
- by Glenn Dunks
- FilmExperience
Below you will find our total coverage of the 2014 Toronto International Film Festival, including a round up on experimental short films, reviews, and the festival-spanning dialog between our two main critics at Tiff. More interviews will be added to the index as they are published.
Correspondences
Between Fernando F. Croce and Daniel Kasman
#1
Fernando F. Croce on Pedro Costa's Horse Money, Lisandro Alonso's Jauja, and Olivier Assayas' Clouds of Sils Maria
#2
Daniel Kasman on Pedro Costa's Horse Money, Peter Ho-Sun Chan's Dearest, Roy Andersson's A Pigeon Sat on a Branch Reflecting on Existence, Takashi Miike's Over Your Dead Body, and Sono Sion's Tokyo Tribe
#3
Fernando F. Croce on Sono Sion's Tokyo Tribe, Jessica Hausner's Amour Fou, Johnnie To's Don't Go Breaking My Heart 2, and Abel Ferrara's Pasolini
#4
Daniel Kasman on Alexandre Larose's brouillard passage #14, Friedl vom Gröller's...
Correspondences
Between Fernando F. Croce and Daniel Kasman
#1
Fernando F. Croce on Pedro Costa's Horse Money, Lisandro Alonso's Jauja, and Olivier Assayas' Clouds of Sils Maria
#2
Daniel Kasman on Pedro Costa's Horse Money, Peter Ho-Sun Chan's Dearest, Roy Andersson's A Pigeon Sat on a Branch Reflecting on Existence, Takashi Miike's Over Your Dead Body, and Sono Sion's Tokyo Tribe
#3
Fernando F. Croce on Sono Sion's Tokyo Tribe, Jessica Hausner's Amour Fou, Johnnie To's Don't Go Breaking My Heart 2, and Abel Ferrara's Pasolini
#4
Daniel Kasman on Alexandre Larose's brouillard passage #14, Friedl vom Gröller's...
- 9/16/2014
- by Notebook
- MUBI
Dear Danny,
I can’t help but admire (and be frankly envious of) the indefatigable way in which you, as the festival nears its end, push full speed ahead into every type of film, accumulating an amazing number of viewings both narrative and avant-garde. I seem to head out somewhat in the opposite direction, stepping in and out of screening rooms while taking time to just wander the drizzly streets, browse the bookstore, and have coffee with friends whom I probably won’t be seeing again for another year. It’s during these mellow closing days, which contrast sharply with the frantic compression of the first week, that I often have some of my most surprising encounters with people and films.
Maybe that’s why I enjoyed Hong Sang-soo’s Hill of Freedom so much. A film about visitors and match-sized flares of irritation and infatuation, it could pass for...
I can’t help but admire (and be frankly envious of) the indefatigable way in which you, as the festival nears its end, push full speed ahead into every type of film, accumulating an amazing number of viewings both narrative and avant-garde. I seem to head out somewhat in the opposite direction, stepping in and out of screening rooms while taking time to just wander the drizzly streets, browse the bookstore, and have coffee with friends whom I probably won’t be seeing again for another year. It’s during these mellow closing days, which contrast sharply with the frantic compression of the first week, that I often have some of my most surprising encounters with people and films.
Maybe that’s why I enjoyed Hong Sang-soo’s Hill of Freedom so much. A film about visitors and match-sized flares of irritation and infatuation, it could pass for...
- 9/14/2014
- by Fernando F. Croce
- MUBI
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 Academy of Motion Picture Arts and Sciences will present a 40th anniversary screening of “Young Frankenstein” with special guests Mel Brooks, Cloris Leachman, Teri Garr and executive producer Michael Gruskoff on Tuesday, September 9, at 7:30 p.m. at the Academy’s Samuel Goldwyn Theater in Beverly Hills. Film historian Leonard Maltin will introduce the comedy classic and host a live onstage discussion with Brooks, Leachman, Garr and Gruskoff.
“Young Frankenstein,” Brooks’s 1974 homage to the Golden Age of monster movies, features a large ensemble cast including Leachman, Garr, Gene Wilder, Peter Boyle, Marty Feldman, Madeline Kahn, Kenneth Mars and Gene Hackman. It earned Oscar® nominations for Adapted Screenplay (Wilder, Brooks) and Sound (Richard Portman, Gene Cantamessa).
Additional Academy events coming up in September at the Bing Theater in Los Angeles are listed below, with details at www.oscars.org/events:
“Let There Be Fright: William Castle Scare Classics”
The...
“Young Frankenstein,” Brooks’s 1974 homage to the Golden Age of monster movies, features a large ensemble cast including Leachman, Garr, Gene Wilder, Peter Boyle, Marty Feldman, Madeline Kahn, Kenneth Mars and Gene Hackman. It earned Oscar® nominations for Adapted Screenplay (Wilder, Brooks) and Sound (Richard Portman, Gene Cantamessa).
Additional Academy events coming up in September at the Bing Theater in Los Angeles are listed below, with details at www.oscars.org/events:
“Let There Be Fright: William Castle Scare Classics”
The...
- 8/25/2014
- by Michelle McCue
- WeAreMovieGeeks.com
The Film Society Of Lincoln Center announced on Wednesday (12) the 30 films that will comprise the main official selection of the 52nd New York Film Festival (Nyff), set to run from September 26-October 12.
The roster includes North American premieres of Asia Argento’s Misunderstood, Bertrand Bonello’s Saint Laurent and Alice Rohrwacher’s The Wonders.
There are Us premieres for, among others, Oren Moverman’s Time Out Of Mind, Abderrahmane Sissako’s Timbuktu, Abel Ferrara’s Pasolini and Martin Rejtman’s Two Shots Fired.
The line-up of New York premieres includes Mike Leigh’s Mr. Turner, Bennett Miller’s Foxcatcher, Yann Demange’s ’71 and Damien Chazelle’s Whiplash.
As previously announced, the world premiere of David Fincher’s Gone Girl (pictured) will open Nyff, the world premiere of Paul Thomas Anderson’s Inherent Vice is the Centerpiece Gala Selection and the North American premiere of Birdman from Alejandro Iñárritu will close the event.
“Sometimes the sheer...
The roster includes North American premieres of Asia Argento’s Misunderstood, Bertrand Bonello’s Saint Laurent and Alice Rohrwacher’s The Wonders.
There are Us premieres for, among others, Oren Moverman’s Time Out Of Mind, Abderrahmane Sissako’s Timbuktu, Abel Ferrara’s Pasolini and Martin Rejtman’s Two Shots Fired.
The line-up of New York premieres includes Mike Leigh’s Mr. Turner, Bennett Miller’s Foxcatcher, Yann Demange’s ’71 and Damien Chazelle’s Whiplash.
As previously announced, the world premiere of David Fincher’s Gone Girl (pictured) will open Nyff, the world premiere of Paul Thomas Anderson’s Inherent Vice is the Centerpiece Gala Selection and the North American premiere of Birdman from Alejandro Iñárritu will close the event.
“Sometimes the sheer...
- 8/13/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
The Film Society Of Lincoln Center announced on Wednesday (12) the 30 films that will comprise the main official selection of the 52nd New York Film Festival (Nyff), set to run from September 26-October 12.
The roster includes North American premieres of Asia Argento’s Misunderstood, Bertrand Bonello’s Saint Laurent and Alice Rohrwacher’s The Wonders.
There are Us premieres for, among others, Oren Moverman’s Time Out Of Mind, Abderrahmane Sissako’s Timbuktu, Abel Ferrara’s Pasolini and Martin Rejtman’s Two Shots Fired.
The line-up of New York premieres includes Mike Leigh’s Mr. Turner, Bennett Miller’s Foxcatcher, Yann Demange’s ’71 and Damien Chazelle’s Whiplash.
As previously announced, the world premiere of David Fincher’s Gone Girl (pictured) will open Nyff, the world premiere of Paul Thomas Anderson’s Inherent Vice is the Centerpiece Gala Selection and the North American premiere of Birdman from Alejandro Iñárritu will close the event.
“Sometimes the sheer...
The roster includes North American premieres of Asia Argento’s Misunderstood, Bertrand Bonello’s Saint Laurent and Alice Rohrwacher’s The Wonders.
There are Us premieres for, among others, Oren Moverman’s Time Out Of Mind, Abderrahmane Sissako’s Timbuktu, Abel Ferrara’s Pasolini and Martin Rejtman’s Two Shots Fired.
The line-up of New York premieres includes Mike Leigh’s Mr. Turner, Bennett Miller’s Foxcatcher, Yann Demange’s ’71 and Damien Chazelle’s Whiplash.
As previously announced, the world premiere of David Fincher’s Gone Girl (pictured) will open Nyff, the world premiere of Paul Thomas Anderson’s Inherent Vice is the Centerpiece Gala Selection and the North American premiere of Birdman from Alejandro Iñárritu will close the event.
“Sometimes the sheer...
- 8/13/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
The Arnold Schwarzenegger and Abigail Breslin zombie drama Maggie, Dustin Hoffman drama Boychoir, Kristen Wiig comedy Welcome To Me and Sophie Barthes’ Madame Bovary have landed world premieres, Tiff gala and special presentation slots.
Also in line to screen for the first time anywhere at the Toronto International Film Festival (Sept 4-14) are crime thriller The Forger starring John Travolta, Christopher Plummer and Tye Sheridan, thriller Escobar: Paradise Lost starring Benicio Del Toro, Thomas McCarthy’s The Cobbler starring Adam Sandler, and Paul Bettany’s directorial debut Shelter.
Tiff top brass also unveiled the Wavelengths, Future Projections, Tiff Cinematheque and shorts programmes.
Wp = World premiere / Nap = North American premiere / IP = International premiere / Cp = Canadian premiere.
Galas
Boychoir (Us), François Girard Wp
The Connection (La French) (France-Belgium), Cédric Jimenez Wp
Escobar: Paradise Lost (France), Andrea Di Stefano Wp
The Forger (Us), Philip Martin Wp
Infinitely Polar Bear (Us), Maya Forbes Cp
Laggies (Us), Lynn Shelton IP
Ruth & Alex...
Also in line to screen for the first time anywhere at the Toronto International Film Festival (Sept 4-14) are crime thriller The Forger starring John Travolta, Christopher Plummer and Tye Sheridan, thriller Escobar: Paradise Lost starring Benicio Del Toro, Thomas McCarthy’s The Cobbler starring Adam Sandler, and Paul Bettany’s directorial debut Shelter.
Tiff top brass also unveiled the Wavelengths, Future Projections, Tiff Cinematheque and shorts programmes.
Wp = World premiere / Nap = North American premiere / IP = International premiere / Cp = Canadian premiere.
Galas
Boychoir (Us), François Girard Wp
The Connection (La French) (France-Belgium), Cédric Jimenez Wp
Escobar: Paradise Lost (France), Andrea Di Stefano Wp
The Forger (Us), Philip Martin Wp
Infinitely Polar Bear (Us), Maya Forbes Cp
Laggies (Us), Lynn Shelton IP
Ruth & Alex...
- 8/12/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
The Arnold Schwarzenegger and Abigail Breslin zombie drama Maggie, Kristen Wiig comedy Welcome To Me and Sophie Barthes’ Madame Bovary have landed world premieres, Tiff gala and special presentation slots.
Also in line to screen for the first time anywhere at the Toronto International Film Festival (Sept 4-14) are crime thriller The Forger starring John Travolta, Christopher Plummer and Tye Sheridan, thriller Escobar: Paradise Lost starring Benicio Del Toro, Thomas McCarthy’s The Cobbler starring Adam Sandler, and Paul Bettany’s directorial debut Shelter.
Tiff top brass also unveiled the Wavelength, Future Projections, Tiff Cinematheque and shorts programmes.
Wp = World premiere / Nap = North American premiere / IP = International premiere / Cp = Canadian premiere.
Galas
Boychoir (Us), François Girard Wp
The Connection (La French) (France-Belgium), Cédric Jimenez Wp
Escobar: Paradise Lost (France), Andrea Di Stefano Wp
The Forger (Us), Philip Martin Wp
Infinitely Polar Bear (Us), Maya Forbes Cp
Laggies (Us), Lynn Shelton IP
Ruth & Alex (Us), Richard Loncraine Wp
Special...
Also in line to screen for the first time anywhere at the Toronto International Film Festival (Sept 4-14) are crime thriller The Forger starring John Travolta, Christopher Plummer and Tye Sheridan, thriller Escobar: Paradise Lost starring Benicio Del Toro, Thomas McCarthy’s The Cobbler starring Adam Sandler, and Paul Bettany’s directorial debut Shelter.
Tiff top brass also unveiled the Wavelength, Future Projections, Tiff Cinematheque and shorts programmes.
Wp = World premiere / Nap = North American premiere / IP = International premiere / Cp = Canadian premiere.
Galas
Boychoir (Us), François Girard Wp
The Connection (La French) (France-Belgium), Cédric Jimenez Wp
Escobar: Paradise Lost (France), Andrea Di Stefano Wp
The Forger (Us), Philip Martin Wp
Infinitely Polar Bear (Us), Maya Forbes Cp
Laggies (Us), Lynn Shelton IP
Ruth & Alex (Us), Richard Loncraine Wp
Special...
- 8/12/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Above: Sophia Loren, this year's Guest of Honor, in Vittorio De Sica's Marriage Italian Style
The following films comprise this year's slate of Cannes Classics:
Marriage Italian Style (Vittorio De Sica)
A Fistful of Dollars (Sergio Leone)
Paris, Texas (Wim Wenders)
Regards sur une revolution: Comment Yukong déplaça les montagnes (Marceline Loridan & Joris Ivens)
Cruel Story of Youth (Nagisa Oshima)
Wooden Crosses (Raymond Bernard)
Overlord (Stuart Cooper)
Fear (Roberto Rossellini)
Blind Chance (Krzysztof Kieslowski)
The Last Metro (François Truffaut)
Dragon Inn (King Hu)
Daybreak (Marcel Carné)
The Color of Pomegranates (Sergei Parajanov)
Gracious Living (Jean-Paul Rappeneau)
Jamaica Inn (Alfred Hitchcock)
Les violons du bal (Michel Drach)
Blue Mountains (Eldar Shengelaia)
Lost Horizon (Frank Capra)
La chienne (Jean Renoir)
Tokyo Olympiad (Kon Ichikawa)
8½ (Federico Fellini)
Two Documentaries about Cinema:
Life Itself (Steve James)
The Go-Go Boys: The Inside Story of Cannon Films (Hilla Medalia)
None of these films will be presented on film.
The following films comprise this year's slate of Cannes Classics:
Marriage Italian Style (Vittorio De Sica)
A Fistful of Dollars (Sergio Leone)
Paris, Texas (Wim Wenders)
Regards sur une revolution: Comment Yukong déplaça les montagnes (Marceline Loridan & Joris Ivens)
Cruel Story of Youth (Nagisa Oshima)
Wooden Crosses (Raymond Bernard)
Overlord (Stuart Cooper)
Fear (Roberto Rossellini)
Blind Chance (Krzysztof Kieslowski)
The Last Metro (François Truffaut)
Dragon Inn (King Hu)
Daybreak (Marcel Carné)
The Color of Pomegranates (Sergei Parajanov)
Gracious Living (Jean-Paul Rappeneau)
Jamaica Inn (Alfred Hitchcock)
Les violons du bal (Michel Drach)
Blue Mountains (Eldar Shengelaia)
Lost Horizon (Frank Capra)
La chienne (Jean Renoir)
Tokyo Olympiad (Kon Ichikawa)
8½ (Federico Fellini)
Two Documentaries about Cinema:
Life Itself (Steve James)
The Go-Go Boys: The Inside Story of Cannon Films (Hilla Medalia)
None of these films will be presented on film.
- 5/1/2014
- by Notebook
- MUBI
Once Again for Love (Ещё Раз Про Любовь)
Written by Edvard Radzinsky (play), Evard Radzinsky (screenplay)
Directed by Georgi Natanson
Soviet Union, 1968.
“We cannot, after all, tell each other anything new,” smirks Yevdokimov (Aleksandr Lazarev), toying with his latest conquest. True enough, the Soviet black-and-white film, Once Again for Love, which is based on Edvard Radzinsky’s 1964 play, does not offer any novel solutions to the questions posed using predominant situational realism in a doomed relationship. Despite being a creation of 1968, a year that painted Soviet screens with productions like The Diamond Arm and The Color of Pomegranates, Once Again for Love is selectively devoid of color, highlighting psychological performance. At its core, the film is a dialogue on impulse and consequence, played out between two fools.
It is at once easy to identify with the isolated stewardess, Natasha (Tatyana Doronina), and to dismiss her as a needy decadent when it comes to relationships.
Written by Edvard Radzinsky (play), Evard Radzinsky (screenplay)
Directed by Georgi Natanson
Soviet Union, 1968.
“We cannot, after all, tell each other anything new,” smirks Yevdokimov (Aleksandr Lazarev), toying with his latest conquest. True enough, the Soviet black-and-white film, Once Again for Love, which is based on Edvard Radzinsky’s 1964 play, does not offer any novel solutions to the questions posed using predominant situational realism in a doomed relationship. Despite being a creation of 1968, a year that painted Soviet screens with productions like The Diamond Arm and The Color of Pomegranates, Once Again for Love is selectively devoid of color, highlighting psychological performance. At its core, the film is a dialogue on impulse and consequence, played out between two fools.
It is at once easy to identify with the isolated stewardess, Natasha (Tatyana Doronina), and to dismiss her as a needy decadent when it comes to relationships.
- 1/13/2013
- by Lital Khaikin
- SoundOnSight
John Akomfrah's "commitment to a radicalism both of politics and of cinematic form finds expression in all his films," writes Sukhdev Sandhu in a profile for the Guardian. "Seven Songs for Malcolm X (1993) draws on the photographer James Van Der Zee's The Harlem Book of the Dead and Sergei Paradjanov's The Color of Pomegranates (1968) to fashion a probing, internationalist vision of the black radical leader that is far removed from the conventional hero projected in Spike Lee's biopic the previous year; The Last Angel of History (1995) advanced the concept of the 'data thief' as part of its argument about science-fiction elements in the music of Sun Ra, George Clinton and Lee Scratch Perry. Akomfrah's new film, The Nine Muses, is a multilayered, gorgeously shot and affecting work that interweaves archival footage of black and Asian people traveling to and working in Britain with moody, elliptical shots of...
- 1/22/2012
- MUBI
Akomfrah's Handsworth Songs attracted a huge audience when shown in the wake of last summer's riots. His new film, The Nine Muses, uses Homer to explore mass migration to Britain
John Akomfrah, widely recognised as one of Britain's most expansive and intellectually rewarding film-makers, has never been afraid of a battle. Back in the 1970s, when he was barely out of his teens, he tried to screen Derek Jarman's homoerotic Sebastiane at the film club of the Southwark further education college, where he was studying. "There were rows. Black kids were throwing chairs everywhere. They were saying 'you can't show this'. So we stopped the film and had a discussion: what do you mean, 'We can't show this film'? It was clear there were forms of propriety for black spectatorship. Rather than run back into the field, I thought: let's just accelerate it. Let's push these boundaries a little bit more.
John Akomfrah, widely recognised as one of Britain's most expansive and intellectually rewarding film-makers, has never been afraid of a battle. Back in the 1970s, when he was barely out of his teens, he tried to screen Derek Jarman's homoerotic Sebastiane at the film club of the Southwark further education college, where he was studying. "There were rows. Black kids were throwing chairs everywhere. They were saying 'you can't show this'. So we stopped the film and had a discussion: what do you mean, 'We can't show this film'? It was clear there were forms of propriety for black spectatorship. Rather than run back into the field, I thought: let's just accelerate it. Let's push these boundaries a little bit more.
- 1/21/2012
- by Sukhdev Sandhu
- The Guardian - Film News
Having spent his childhood training at the instruction of Zeus (Luke Evans – in the guise of John Hurt so that he doesn’t break his own law forbidding divine interference), Theseus (Henry Cavill) finds himself thrust into battle when the King Hyperion (Mickey Rourke) destroys his village and kills his mother in search of the legendary Epirus Bow. Joining forces with the virgin oracle (Freida Pinto) and a repentant thief (Stephen Dorff), Theseus must find the bow first and overcome the King’s army if he is to stop the Titans from being released and war spreading to the heavens.
Much has been made of the fact that Immortals is the new 300, the new Clash of the Titans and as such a joyless update of any old sword and sandal epic worth its green-screen. It’s true, just like its spiritual forebears, Immortals is almost uniformly devoid of recognisable pulse,...
Much has been made of the fact that Immortals is the new 300, the new Clash of the Titans and as such a joyless update of any old sword and sandal epic worth its green-screen. It’s true, just like its spiritual forebears, Immortals is almost uniformly devoid of recognisable pulse,...
- 11/12/2011
- by Steven Neish
- HeyUGuys.co.uk
Exploration of the life of Sayat Nova.
The Colour of Pomegranates is a unique cinematic exploration of the 18th century Armenian poet Sayat Nova’s life and work. If that sounds like a tough watch, that’s because it is. This ‘film’ cannot be approached through any conventional understanding of the word. This isn’t cinema as we know it. This, quite frankly, is impenetrable nonsense. It may be staggeringly beautiful and inventive, but it’s posturing nonsense all the same.
Without any discernible characters, dialogue or plot, the film aims to provide us with a...
The Colour of Pomegranates is a unique cinematic exploration of the 18th century Armenian poet Sayat Nova’s life and work. If that sounds like a tough watch, that’s because it is. This ‘film’ cannot be approached through any conventional understanding of the word. This isn’t cinema as we know it. This, quite frankly, is impenetrable nonsense. It may be staggeringly beautiful and inventive, but it’s posturing nonsense all the same.
Without any discernible characters, dialogue or plot, the film aims to provide us with a...
- 8/27/2011
- by Robert Munro
- eyeforfilm.co.uk
Stargate: Universe: Seasons 1 & 2
DVD, 20th Century Fox
There's no shame in being a cancelled TV show these days. Where science fiction is concerned, it can almost be considered a badge of honour, as in cases such as Joss Whedon's Firefly or the dark X-Files follow-up Millennium. Let's not forget that Star Trek got yanked off the air, too. One of many spinoff series from the silly but entertaining 1994 Kurt Russell blockbuster, Stargate: Universe took on a darker, more serious tone, marooning a large group of explorers (including Robert Carlyle as the resident angry genius) on a huge and ancient spacecraft of unknown origin in a distant part of the universe. After a shaky start, the show developed into something much better than expected, with the unwilling and unprepared crew regularly at risk from internal power struggles, alien attacks and mysterious forces. Unfortunately, it wasn't quite the weekly...
DVD, 20th Century Fox
There's no shame in being a cancelled TV show these days. Where science fiction is concerned, it can almost be considered a badge of honour, as in cases such as Joss Whedon's Firefly or the dark X-Files follow-up Millennium. Let's not forget that Star Trek got yanked off the air, too. One of many spinoff series from the silly but entertaining 1994 Kurt Russell blockbuster, Stargate: Universe took on a darker, more serious tone, marooning a large group of explorers (including Robert Carlyle as the resident angry genius) on a huge and ancient spacecraft of unknown origin in a distant part of the universe. After a shaky start, the show developed into something much better than expected, with the unwilling and unprepared crew regularly at risk from internal power struggles, alien attacks and mysterious forces. Unfortunately, it wasn't quite the weekly...
- 8/26/2011
- by Phelim O'Neill
- The Guardian - Film News
Problematic, directionlessness or just plain nonsensical – here are the inexplicable arthouse films you love to hate
@DrGiggles Without a doubt Primer is the most obtuse film I've ever seen – it was as entertaining as reading a book on advanced calculus.
@SladeKincald For me it has to be Jim Jarmusch's Dead Man. Love it, no idea what it's about. Death, maybe?
@dothestrand Andrzej Zulawski's Possession … Isabelle Adjani's Cannes-winning performance was described by Time Out as like that of a rabies victim. Wonderful film, though.
@DrJackDevlin Pirates of the Caribbean III. Completely baffling. Radical stuff.
@DrTumnus Thomas Vinterberg's It's All About Love reeks of folly, but I find it oddly compelling: glistening in the memory bank are Sean Penn literally phoning in his performance from an orbiting jumbo jet and an ice rink full of dead clones. Fab.
@jaiebey Delicatessen – featuring a circus performer, cannibalism and radical vegetarian-terrorists,...
@DrGiggles Without a doubt Primer is the most obtuse film I've ever seen – it was as entertaining as reading a book on advanced calculus.
@SladeKincald For me it has to be Jim Jarmusch's Dead Man. Love it, no idea what it's about. Death, maybe?
@dothestrand Andrzej Zulawski's Possession … Isabelle Adjani's Cannes-winning performance was described by Time Out as like that of a rabies victim. Wonderful film, though.
@DrJackDevlin Pirates of the Caribbean III. Completely baffling. Radical stuff.
@DrTumnus Thomas Vinterberg's It's All About Love reeks of folly, but I find it oddly compelling: glistening in the memory bank are Sean Penn literally phoning in his performance from an orbiting jumbo jet and an ice rink full of dead clones. Fab.
@jaiebey Delicatessen – featuring a circus performer, cannibalism and radical vegetarian-terrorists,...
- 10/20/2010
- The Guardian - Film News
Sergei Paradjanov made some of the most beautiful films ever seen, writes Elif Batuman. His reward was to be sent to the gulag for 'surrealist tendencies'
Between his abandonment of socialist realism in 1964 and his death from lung cancer in 1990, Sergei Paradjanov made four of the weirdest and most beautiful movies ever seen. An ethnic Armenian, Paradjanov was born in Soviet Georgia in 1924. His mother was "very artistic": she "used to adorn herself with Christmas tree decorations and curtains and join her friends on the roof to enact legends". In 1947, Paradjanov spent a brief stint in a Georgian prison for committing "homosexual acts" (which were illegal under Soviet law) – with, of all people, a Kgb officer. He later disavowed the seven films he shot in the 1950s and early 1960s. In 1962, he saw Tarkovsky's Ivan's Childhood and completely changed his artistic method, which had previously been quite normal.
The...
Between his abandonment of socialist realism in 1964 and his death from lung cancer in 1990, Sergei Paradjanov made four of the weirdest and most beautiful movies ever seen. An ethnic Armenian, Paradjanov was born in Soviet Georgia in 1924. His mother was "very artistic": she "used to adorn herself with Christmas tree decorations and curtains and join her friends on the roof to enact legends". In 1947, Paradjanov spent a brief stint in a Georgian prison for committing "homosexual acts" (which were illegal under Soviet law) – with, of all people, a Kgb officer. He later disavowed the seven films he shot in the 1950s and early 1960s. In 1962, he saw Tarkovsky's Ivan's Childhood and completely changed his artistic method, which had previously been quite normal.
The...
- 3/13/2010
- The Guardian - Film News
Spike Jonze's I'm Here, Nationwide
Anyone who balks at the idea of indie artists collaborating with big-name brands should stop reading now. And more fool them, because for those who enjoy throwing together two opposites with a decent budget and no holds barred, the idea of a Spike Jonze half-hour film about robot love, sponsored by Absolut Vodka, is, frankly, inspired. I'm Here is a weird and wonderful celebration of a life enriched by creativity, starring British actors Andrew Garfield and Sienna Guillory as machine-headed lovers. The movie will go online on 1 Mar, but it's screening all this week in a series of random, ordinary places turned into pop-up cinemas, such as bike shops and hairdressers. Then there are larger screenings taking place in car parks in London (Thu), Manchester (Fri) and Edinburgh (27 Feb), for which you can apply for tickets online.
Various venues, Mon to 27 Feb, visit absolut.
Anyone who balks at the idea of indie artists collaborating with big-name brands should stop reading now. And more fool them, because for those who enjoy throwing together two opposites with a decent budget and no holds barred, the idea of a Spike Jonze half-hour film about robot love, sponsored by Absolut Vodka, is, frankly, inspired. I'm Here is a weird and wonderful celebration of a life enriched by creativity, starring British actors Andrew Garfield and Sienna Guillory as machine-headed lovers. The movie will go online on 1 Mar, but it's screening all this week in a series of random, ordinary places turned into pop-up cinemas, such as bike shops and hairdressers. Then there are larger screenings taking place in car parks in London (Thu), Manchester (Fri) and Edinburgh (27 Feb), for which you can apply for tickets online.
Various venues, Mon to 27 Feb, visit absolut.
- 2/20/2010
- by Andrea Hubert
- The Guardian - Film News
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