NYC Weekend Watch is our weekly round-up of repertory offerings.
Roxy Cinema
Michael Almereyda’s rarely screened and extremely funny Twister plays on 35mm this Friday and Saturday, while a print of Godard’s King Lear shows Saturday and Sunday; on Sunday, Stephen Dwoskin’s The Carnal Screen plays on 16mm and Morvern Callar shows on 35; “City Dudes” returns this Saturday for a secret screening.
Film Forum
Choose your fighter: as 4K restorations of Truffaut’s Antoine Doinel series start, so does Breathless on 35mm; Carnal Knowledge continues while The Bingo Long Traveling All-Stars & Motor Kings screens this Sunday.
Museum of the Moving Image
A packed weekend for The Caan Film Festival is headlined by The Gambler, while Safety Last! screens this Sunday.
Film at Lincoln Center
New 4K restorations of the Infernal Affairs trilogy continue.
IFC Center
Godard’s Sympathy for the Devil has late-night screenings; “World of Wong Kar-wai” returns; Pulp Fiction,...
Roxy Cinema
Michael Almereyda’s rarely screened and extremely funny Twister plays on 35mm this Friday and Saturday, while a print of Godard’s King Lear shows Saturday and Sunday; on Sunday, Stephen Dwoskin’s The Carnal Screen plays on 16mm and Morvern Callar shows on 35; “City Dudes” returns this Saturday for a secret screening.
Film Forum
Choose your fighter: as 4K restorations of Truffaut’s Antoine Doinel series start, so does Breathless on 35mm; Carnal Knowledge continues while The Bingo Long Traveling All-Stars & Motor Kings screens this Sunday.
Museum of the Moving Image
A packed weekend for The Caan Film Festival is headlined by The Gambler, while Safety Last! screens this Sunday.
Film at Lincoln Center
New 4K restorations of the Infernal Affairs trilogy continue.
IFC Center
Godard’s Sympathy for the Devil has late-night screenings; “World of Wong Kar-wai” returns; Pulp Fiction,...
- 9/22/2022
- by Nick Newman
- The Film Stage
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSLuther Price's Sodom (1989)Experimental filmmaker Luther Price, best known for his reappropriation of found footage into vivid, often graphic and controversial painted images, has died. A number of available films, as well as a Q&a with Price, can be found here.Kirill Serebrennikov is set to direct a limited series based on the life of Andrei Tarkovsky. Due to the impact of the ongoing health crisis, the dates for next year's Oscars and BAFTA ceremonies have been pushed to April of 2021. Recommended VIEWINGThe official trailer for House of Hummingbird, Kim Bora's portrait of youth in 1990's Korea. Read our interview with Kim here.For GQ, martial artist Scott Adkins thoroughly breaks down fight scenes from movies like Ip Man, The Bourne Supremacy, and Rush Hour.A new short by David Lynch, The Story of a Small Bug,...
- 6/17/2020
- MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSStanley Donen and Audrey Hepburn on the set of Funny Face (1957)We're saddened by the loss of Stanley Donen, who leaves behind a prolific catalog as filmmaker and choreographer, defined by creative partnerships with actors like Gene Kelly and Audrey Hepburn. In an obituary for The Guardian, David Thomson writes that Donen, best known for the musical Singin' In The Rain, "excelled at collaboration, which musicals, more than any other film genre, are reliant on, and which enabled him to create masterpieces." Recommended VIEWINGAmong the many commercials scattered throughout last weekend's Academy Awards ceremony was a secretive teaser for Martin Scorsese's Netflix-produced The Irishman. Mubi will be releasing David Robert Mitchell's Los Angeles-set neo-noir mystery, Under The Silver Lake, in UK cinemas (and on Mubi UK) on March 15th. A new...
- 2/27/2019
- MUBI
Offon by Scott Bartlett (1968)
This film’s title is spelled various ways in different sources. Variations include Off-On, Off/On, and Offon. The Canyon Cinema Catalog 3, published in Spring 1972, spells it Offon. However, all film titles in the catalog are spelled in all caps, so the Underground Film Journal has opted to spell it as Offon, also based on the title screen, which is in all caps. Some sources also give a completion year of 1967, but 1968 is correct.
Offon is considered one of the first works to combine film and video together. It was celebrated upon its release for both its technical ingenuity as much as for its artistic integrity.
Over the weekend of May 10th, 1968, Offon screened at the first Yale Film Festival at Yale University, where it was awarded First Prize by judges Annette Michelson, Willard Van Dyke, Bernard Hanson, and Jonas Mekas, who wrote about the festival...
This film’s title is spelled various ways in different sources. Variations include Off-On, Off/On, and Offon. The Canyon Cinema Catalog 3, published in Spring 1972, spells it Offon. However, all film titles in the catalog are spelled in all caps, so the Underground Film Journal has opted to spell it as Offon, also based on the title screen, which is in all caps. Some sources also give a completion year of 1967, but 1968 is correct.
Offon is considered one of the first works to combine film and video together. It was celebrated upon its release for both its technical ingenuity as much as for its artistic integrity.
Over the weekend of May 10th, 1968, Offon screened at the first Yale Film Festival at Yale University, where it was awarded First Prize by judges Annette Michelson, Willard Van Dyke, Bernard Hanson, and Jonas Mekas, who wrote about the festival...
- 7/29/2018
- by Mike Everleth
- Underground Film Journal
Breathdeath by Stan Vanderbeek (1963).
At the Exprmntl 3 film competition at Knokke-le-Zoute, Belgium in 1963, Breathdeath tied for 2nd place with Gregory Markopoulos‘s Twice a Man. Both men took home $2,000 in prize money.
In An Introduction to the American Underground Film, Sheldon Renan classifies Breathdeath as a “protest film,” which was a minority of underground film genre at the time. Renan also describes Breathdeath as a “collage of film technique” and considers it Vanderbeek’s best film. Throughout the book, Renan gives different completion years, both 1963-64 and just 1964. Although, in the film’s on-screen text, Vanderbeek gave the film a 1963 copyright. (See below.) (Stephen Dwoskin’s Film Is also gives Breathdeath a completion year of 1964; as does the film’s listing on the Film-makers’ Coop website.)
According to a document published in Scott MacDonald’s Canyon Cinema, in 1970, Breathdeath was one of five films acquired by the Australian National Library’s study collection.
At the Exprmntl 3 film competition at Knokke-le-Zoute, Belgium in 1963, Breathdeath tied for 2nd place with Gregory Markopoulos‘s Twice a Man. Both men took home $2,000 in prize money.
In An Introduction to the American Underground Film, Sheldon Renan classifies Breathdeath as a “protest film,” which was a minority of underground film genre at the time. Renan also describes Breathdeath as a “collage of film technique” and considers it Vanderbeek’s best film. Throughout the book, Renan gives different completion years, both 1963-64 and just 1964. Although, in the film’s on-screen text, Vanderbeek gave the film a 1963 copyright. (See below.) (Stephen Dwoskin’s Film Is also gives Breathdeath a completion year of 1964; as does the film’s listing on the Film-makers’ Coop website.)
According to a document published in Scott MacDonald’s Canyon Cinema, in 1970, Breathdeath was one of five films acquired by the Australian National Library’s study collection.
- 10/8/2017
- by Mike Everleth
- Underground Film Journal
By my first afternoon in Rotterdam I had found an image that positively vibrated out of the screen at me. A dark doorway, seen obliquely in an empty frame, contained by stolid, lifeless rural architecture, cloaked in a miasma conjured from a combination of haze, a fogged lens, old film stock, and blown out whites from an open aperture. It is from Letter, a short work, not so much a documentary but a fragment drawn carefully and gently into immanence by Sergei Loznitsa, conjured from footage he shot, the program notes tell me, over ten years ago “at a psychiatric institution in a forgotten corner of Russia.” But even with no text or voice over to place and set this artifact resurrected (or projected), and a soundtrack achingly follied and sneakily dubbed, the sense of lostness, malady and asynchronicity is prevalent. Some persons, mostly old and bumbling, pursue the frame...
- 2/1/2013
- by Daniel Kasman
- MUBI
News.
A new issue of one the most essential film publications, La Furia Umana, is now available online. As always, alongside a rich collection of disparate texts, the issue has separate dossiers devoted to specific filmmakers, including ones on René Vautier (edited by Nicole Brenez) and Ida Lupino with Claire Denis. The amount of must-read coverage is daunting: included, too, are homages to Chris Marker and Stephen Dwoskin, a new video by David Phelps, and much more to explore.
In this issue, our pride and joy is to be found in the monograph-length dossier on Hollywood auteur William A. Wellman, a dossier edited by Gina Telaroli and Phelps. Our editor Daniel Kasman has contributed anoverview to Wellman's filmography; Telaroli has an incredible image-based piece on Good-bye, My Lady (alongside "scraps" and "findings" pointing the way for even more coverage of this filmmaker's wide oeuvre), filmmaker Bertrand Tavernier has a new piece,...
A new issue of one the most essential film publications, La Furia Umana, is now available online. As always, alongside a rich collection of disparate texts, the issue has separate dossiers devoted to specific filmmakers, including ones on René Vautier (edited by Nicole Brenez) and Ida Lupino with Claire Denis. The amount of must-read coverage is daunting: included, too, are homages to Chris Marker and Stephen Dwoskin, a new video by David Phelps, and much more to explore.
In this issue, our pride and joy is to be found in the monograph-length dossier on Hollywood auteur William A. Wellman, a dossier edited by Gina Telaroli and Phelps. Our editor Daniel Kasman has contributed anoverview to Wellman's filmography; Telaroli has an incredible image-based piece on Good-bye, My Lady (alongside "scraps" and "findings" pointing the way for even more coverage of this filmmaker's wide oeuvre), filmmaker Bertrand Tavernier has a new piece,...
- 10/8/2012
- by Notebook
- MUBI
In this long delayed and much-awaited (by me anyway) episode of They Shot Pictures, we discuss the intensely personal and strikingly original films of the experimental filmmaker Stephen Dwoskin. I am joined on this episode once again by my friend Barry who is both directly and indirectly responsible for introducing me to Dwoskin’s films. We get a little melancholic as we talk about how we each related so personally to his films. We discuss in-depth the films Behindert, Outside In and Dyn Amo.
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- 10/1/2012
- by Seema
- SoundOnSight
News.
The Venice Film Festival is well underway, and for in-depth roundups of coverage, it's best to head over and take a look at David Hudson's Daily index. Among the films to have screened are Paul Thomas Anderson's The Master and Terrence Malick's To The Wonder (a warning: the latter was received with boos). Werner Herzog is—believe it or not—teaming up with The Killers (of all bands, really?) for a "live concert webcast" on September 18th. Check out the Rolling Stone article; it sounds like the Bavarian auteur will unsurprisingly be imbuing the show with his eccentricity. That's not all for Herzog news: characteristic of the director, he has several projects coming down the pipeline. If I understand this Indiewire report correctly, he'll be expanding on his On Death Row miniseries he did for Investigation Discovery with another series of interviews. Additionally, Herzog will be making Hate in America,...
The Venice Film Festival is well underway, and for in-depth roundups of coverage, it's best to head over and take a look at David Hudson's Daily index. Among the films to have screened are Paul Thomas Anderson's The Master and Terrence Malick's To The Wonder (a warning: the latter was received with boos). Werner Herzog is—believe it or not—teaming up with The Killers (of all bands, really?) for a "live concert webcast" on September 18th. Check out the Rolling Stone article; it sounds like the Bavarian auteur will unsurprisingly be imbuing the show with his eccentricity. That's not all for Herzog news: characteristic of the director, he has several projects coming down the pipeline. If I understand this Indiewire report correctly, he'll be expanding on his On Death Row miniseries he did for Investigation Discovery with another series of interviews. Additionally, Herzog will be making Hate in America,...
- 9/6/2012
- MUBI
Stephen Dwoskin was charismatic with a sometimes menacing physical presence, yet he could be surprisingly shy and gentle. I first met him in 1977 when he was part of a group of independent film-makers including Marc Karlin, Diane Tammes and others from the Berwick Street Collective who were campaigning to save the Other Cinema as a venue for avant-garde films and as film distributors.
They had applied to the BBC2 public-access series Open Door to make a film, wanting something that not only defended the cinema but would also in itself challenge the television orthodoxies of the day. I was the BBC producer assigned to the project and when we first met, Steve barely looked me in the eye and seemed to be constantly making comments just out of my hearing. It became clear how little respect he had for the norms of mainstream TV and assumed I would be trying...
They had applied to the BBC2 public-access series Open Door to make a film, wanting something that not only defended the cinema but would also in itself challenge the television orthodoxies of the day. I was the BBC producer assigned to the project and when we first met, Steve barely looked me in the eye and seemed to be constantly making comments just out of my hearing. It became clear how little respect he had for the norms of mainstream TV and assumed I would be trying...
- 8/30/2012
- by Giles Oakley
- The Guardian - Film News
It's been tempting to believe that Steve Dwoskin was indestructible. But if the spirit has anything to do with survival, then it is not surprising that he made a final score that surprised even his doctors.
I first met Steve in the 1970s, when I was on Time Out and he was a doyen of the underground film world. He was hugely attractive – wry, curious, witty and exuberant. The fact that he was on crutches he regarded as neither a bitter blow nor something to affect to ignore. He accepted and used his physical state creatively on film, making it a prism through which he approached so much he found keenly interesting in the world.
His energy made him constantly seek out alternative outlets when other avenues closed – lighter equipment when his hands gave way, writing, painting, designing. In recent years the humiliations to which social care subjected him – forcing...
I first met Steve in the 1970s, when I was on Time Out and he was a doyen of the underground film world. He was hugely attractive – wry, curious, witty and exuberant. The fact that he was on crutches he regarded as neither a bitter blow nor something to affect to ignore. He accepted and used his physical state creatively on film, making it a prism through which he approached so much he found keenly interesting in the world.
His energy made him constantly seek out alternative outlets when other avenues closed – lighter equipment when his hands gave way, writing, painting, designing. In recent years the humiliations to which social care subjected him – forcing...
- 7/24/2012
- by Naseem Khan
- The Guardian - Film News
Brief batch this week, but some really great reads!
This week’s Must Read is a sad one: The obituary for filmmaker and author Stephen Dwoskin that ran in the Guardian UK. He was born in NYC in 1948, began making films in the early ’60s whereupon he moved to England and helped co-found the London Film-makers’ Co-operative. He also wrote the influential book Film Is…, which was published in 1975, and made films pretty much up until the very end.Meant to put this up last week, but it’s still relevant: The blog We Love Perth interviewed Jack Sargeant about his job programming the Revelation Perth International Film Festival, which just wrapped up this year. Jack is one of those rare creatures who’s as great an interview subject as he is an actual interviewer himself.This link isn’t really about underground film, but I figure you’re a...
This week’s Must Read is a sad one: The obituary for filmmaker and author Stephen Dwoskin that ran in the Guardian UK. He was born in NYC in 1948, began making films in the early ’60s whereupon he moved to England and helped co-found the London Film-makers’ Co-operative. He also wrote the influential book Film Is…, which was published in 1975, and made films pretty much up until the very end.Meant to put this up last week, but it’s still relevant: The blog We Love Perth interviewed Jack Sargeant about his job programming the Revelation Perth International Film Festival, which just wrapped up this year. Jack is one of those rare creatures who’s as great an interview subject as he is an actual interviewer himself.This link isn’t really about underground film, but I figure you’re a...
- 7/15/2012
- by Mike Everleth
- Underground Film Journal
While Cannes’ Quinzaine struggles to reframe its identity, its former artistic director Olivier Père continues to impress in his new job at the Locarno Film Festival. On Wednesday, he and his programming team unveiled a lineup that is absolutely salivatory, a who’s who for high-minded cinephiles. Perhaps most impressive of all, he has managed to once again nudge the festival’s selection aesthetic even deeper into esoteric ‘experimental’ territory without seeming all that radical. More than any other festival, Locarno is the home for the edgy projects that are too sophisticated for Cannes, whose cold shoulder to avant-garde narrative filmmaking becomes more glaring with each passing year. Check out the complete line-up at the bottom of this page.
In their International Competition, in which films compete for the increasingly prestigious Golden Leopard, we have a collaboration between João Pedro Rodrigues and his partner João Rui Guerra da Mata called...
In their International Competition, in which films compete for the increasingly prestigious Golden Leopard, we have a collaboration between João Pedro Rodrigues and his partner João Rui Guerra da Mata called...
- 7/13/2012
- by Blake Williams
- IONCINEMA.com
Experimental film-maker who put pleasure and pain at the core of his work
Stephen Dwoskin, who has died of heart failure aged 73, was among those film-makers whose work is recognisable from just a few frames. A trembling, handheld camera, often observing people from an intimate, low angle; studies of women moving, dancing, stripping, making love to Dwoskin himself, or simply looking into the lens with a steely, defiant gaze; a relentless, droning, musical accompaniment. This is the impression left by his best-known films, Dyn Amo (1972), Behindert (1974) and Central Bazaar (1976).
This way of looking and filming came directly from Dwoskin's physical circumstances. Born and raised in New York, he contracted polio at the age of nine during the 1948 epidemic. "They didn't expect me to live," he recalled in 2009. "I was a whole history of polio in one person." He spent much of his life on crutches, and later used a wheelchair.
Stephen Dwoskin, who has died of heart failure aged 73, was among those film-makers whose work is recognisable from just a few frames. A trembling, handheld camera, often observing people from an intimate, low angle; studies of women moving, dancing, stripping, making love to Dwoskin himself, or simply looking into the lens with a steely, defiant gaze; a relentless, droning, musical accompaniment. This is the impression left by his best-known films, Dyn Amo (1972), Behindert (1974) and Central Bazaar (1976).
This way of looking and filming came directly from Dwoskin's physical circumstances. Born and raised in New York, he contracted polio at the age of nine during the 1948 epidemic. "They didn't expect me to live," he recalled in 2009. "I was a whole history of polio in one person." He spent much of his life on crutches, and later used a wheelchair.
- 7/12/2012
- by Adrian Martin
- The Guardian - Film News
News.
Above: Cinetract 2: Revolution Is in the Eye of the Beholder, a video essay by David Phelps. The video is part of a new issue of one of our very favorite—and one of the best—film magazines in the world, La Furia Umana, which is now out. Each issue is focused on dossiers on particular directors, and this issue includes essential articles on Leo McCarey, Paul Vecchiali, Jean-Claude Rousseau and José Luis Guerín. In the McCarey dossier are pieces by our very own Daniel Kasman—on the Cary Grant & Ginger Rogers vs. the Nazis film, Once Upon a Honeymoon—and Ted Fendt on McCarey's Charley Chase comedy shorts. But don't ignore the depth and variety of articles outside this center, which include searing video pieces by Notebook regulars David Phelps—on Lang, Vertov and protest—and Gina Telaroli on Joan Bennett, Max Ophüls, The Reckless Moment and the reflections of American presidents.
Above: Cinetract 2: Revolution Is in the Eye of the Beholder, a video essay by David Phelps. The video is part of a new issue of one of our very favorite—and one of the best—film magazines in the world, La Furia Umana, which is now out. Each issue is focused on dossiers on particular directors, and this issue includes essential articles on Leo McCarey, Paul Vecchiali, Jean-Claude Rousseau and José Luis Guerín. In the McCarey dossier are pieces by our very own Daniel Kasman—on the Cary Grant & Ginger Rogers vs. the Nazis film, Once Upon a Honeymoon—and Ted Fendt on McCarey's Charley Chase comedy shorts. But don't ignore the depth and variety of articles outside this center, which include searing video pieces by Notebook regulars David Phelps—on Lang, Vertov and protest—and Gina Telaroli on Joan Bennett, Max Ophüls, The Reckless Moment and the reflections of American presidents.
- 7/4/2012
- MUBI
Rescued from the jaws of limbo, the Denver Underground Film Festival comes roaring back to life for three days of short films and one intense feature-length documentary. The fest runs Nov. 11-13 at the Unitarian Society of Denver.
The feature doc screening on the fest’s last night is Iconoclast, Larry Wessel’s epic profile of musician and artistic rabble-rouser Boyd Rice.
The rest of the fest is an eclectic mix of short films, including programs devoted to contemporary Spanish and Canadian cinema, plus a look back at profiles of Andy Warhol caught on film by Jonas Mekas and Stephen Dwoskin.
Some mind-blowing short films to look out for are Jaimz Asmundson’s stunning portrait of his artist father, C. Graham Asmundson, The Magus and Greg Hanson & Casey Regan’s ass-kicking nunsploitation flick, Thy Kill Be Done.
The full lineup of films at the Denver Underground Film Festival is below.
The feature doc screening on the fest’s last night is Iconoclast, Larry Wessel’s epic profile of musician and artistic rabble-rouser Boyd Rice.
The rest of the fest is an eclectic mix of short films, including programs devoted to contemporary Spanish and Canadian cinema, plus a look back at profiles of Andy Warhol caught on film by Jonas Mekas and Stephen Dwoskin.
Some mind-blowing short films to look out for are Jaimz Asmundson’s stunning portrait of his artist father, C. Graham Asmundson, The Magus and Greg Hanson & Casey Regan’s ass-kicking nunsploitation flick, Thy Kill Be Done.
The full lineup of films at the Denver Underground Film Festival is below.
- 11/11/2011
- by Mike Everleth
- Underground Film Journal
The 10th annual Lausanne Underground Film Festival is a truly epic film event with an immense lineup of the strangest, sexiest, most grotesque, oddball and downright freakish movies from all over the world — from modern underground treats to classic cult movies of yesteryear.
The fest officially begins on Oct. 15 with a special live performance by the legendary Diamanda Galas. But the film festivities run from Oct. 17-23, starting with the grand opening of an exhibition and retrospective of the films by Ericka Beckman.
The full film lineup, which is presented below, is a massive mix of underground greatness, but here are some of the highlights:
Gross-Out Flicks:
Chop, dir. Trent Haaga.
The Taint, dir. Drew Bolduc and Dan Nelson.
Calibre 9, dir. Jean-Christian Tassy.
The Bunny Game, dir. Adam Rehmeier
Trippy Movies:
Profane, dir. Usama Alshaibi
The Oregonian, dir. Calvin Lee Reeder
Hellacious Acres: The Case of John Glass, dir.
The fest officially begins on Oct. 15 with a special live performance by the legendary Diamanda Galas. But the film festivities run from Oct. 17-23, starting with the grand opening of an exhibition and retrospective of the films by Ericka Beckman.
The full film lineup, which is presented below, is a massive mix of underground greatness, but here are some of the highlights:
Gross-Out Flicks:
Chop, dir. Trent Haaga.
The Taint, dir. Drew Bolduc and Dan Nelson.
Calibre 9, dir. Jean-Christian Tassy.
The Bunny Game, dir. Adam Rehmeier
Trippy Movies:
Profane, dir. Usama Alshaibi
The Oregonian, dir. Calvin Lee Reeder
Hellacious Acres: The Case of John Glass, dir.
- 10/13/2011
- by Mike Everleth
- Underground Film Journal
AMSTERDAM -- The International Film Festival Rotterdam on Wednesday unveiled the first films selected for its Tiger Award competition.
Japanese autobiographical production "Waltz in Starlight" by Shingo Wakagi, Pusan award-winner "Flower in the Pocket" by debutante Liew Seng from Malaysia and "Wonderful Town" by Aditva Assarat, a Thai production supported by the Hubert Bals Fund, are the first three titles chosen.
The full competition lineup for the Jan. 23-Feb. 3 festival will be unveiled in January by newly appointed director Rutger Wolfson, who replaced Sandra den Hamer in September.
The 37th edition already is taking shape, with U.S. experimental director Robert Breer and Russian director Scetlana Proskurina chosen as Filmmakers in Focus.
The festival also announced a number of world premieres. Brit director Stephen Dwoskin will present "The Sun and The Moon", a radical portrait of lust, pain and melancholy, while U.S. helmer Jeff Pickett presents his first feature, "The Skyjacker", a story about a man who hijacks a plane and falls in love with the stewardess.
Japanese autobiographical production "Waltz in Starlight" by Shingo Wakagi, Pusan award-winner "Flower in the Pocket" by debutante Liew Seng from Malaysia and "Wonderful Town" by Aditva Assarat, a Thai production supported by the Hubert Bals Fund, are the first three titles chosen.
The full competition lineup for the Jan. 23-Feb. 3 festival will be unveiled in January by newly appointed director Rutger Wolfson, who replaced Sandra den Hamer in September.
The 37th edition already is taking shape, with U.S. experimental director Robert Breer and Russian director Scetlana Proskurina chosen as Filmmakers in Focus.
The festival also announced a number of world premieres. Brit director Stephen Dwoskin will present "The Sun and The Moon", a radical portrait of lust, pain and melancholy, while U.S. helmer Jeff Pickett presents his first feature, "The Skyjacker", a story about a man who hijacks a plane and falls in love with the stewardess.
- 11/22/2007
- The Hollywood Reporter - Movie News
ROTTERDAM -- The International Film Festival Rotterdam announced Thursday that the 35th edition, set to run Jan. 25-Feb. 5, will include a section devoted to drugs-driven films. "The program offers 'hallucinating cinema' -- a neglected but important part of experimental filmmaking -- as well as 'narco cinema' in which drugs appear as plot catalyst," stated curator Gertjan Zuilhof. The program will be presented under the banner "White Light". The festival will also honor two directors in its Filmmakers in Focus section: London-based Stephen Dwoskin and Japan's Nagasaki Shunichi. Both will have retrospectives of their work screened during the event. For the first time, the 2006 festival will host the Prix UIP International Film Festival Rotterdam/Short Film Nominee for the European Film Awards.
- 10/27/2005
- The Hollywood Reporter - Movie News
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