Now that most of the Cannes Film Festival 2016 line-up has been settled when it comes to new premieres, their Cannes Classics sidebar of restored films is not only a treat for those attending, but a hint at what we can expect to arrive at repertory theaters and labels like Criterion in the coming years.
Today they’ve unveiled their line-up, which is toplined by Bertrand Tavernier‘s new 3-hour and 15-minute documentary about French cinema, Voyage à travers le cinéma français. They will also be screening William Friedkin‘s Sorcerer following his masterclass. Along with various documentaries, both classics in the genre and ones about films, they will also premiere new restorations of Andrei Tarkovsky‘s Solaris, Jean-Luc Godard‘s Masculin féminin, two episodes of Krzysztof Kieślowski‘s The Decalogue, as well as films from Kenji Mizoguchi, Marlon Brando, Jacques Becker, Mario Bava, and more.
Check out the line-up below.
Today they’ve unveiled their line-up, which is toplined by Bertrand Tavernier‘s new 3-hour and 15-minute documentary about French cinema, Voyage à travers le cinéma français. They will also be screening William Friedkin‘s Sorcerer following his masterclass. Along with various documentaries, both classics in the genre and ones about films, they will also premiere new restorations of Andrei Tarkovsky‘s Solaris, Jean-Luc Godard‘s Masculin féminin, two episodes of Krzysztof Kieślowski‘s The Decalogue, as well as films from Kenji Mizoguchi, Marlon Brando, Jacques Becker, Mario Bava, and more.
Check out the line-up below.
- 4/20/2016
- by Jordan Raup
- The Film Stage
Norma Bengell dead at 78: Iconic (and controversial) Brazilian film, stage, television, and recording star made history as the first actress to be seen naked (full frontal) in a mainstream film (photo: Norma Bengell and John Herbert in ‘As Cariocas’) Norma Bengell, a sort of Brazilian Jeanne Moreau, Brigitte Bardot, and Jane Fonda rolled into one, died of lung cancer in her hometown of Rio de Janeiro on October 9, 2013. She was 78. Best known internationally for her leading-lady roles in several Italian-made cult classics of the mid-’60s, Norma Bengell was known in Brazil as a controversial show business veteran and for being the first “name” actress (purportedly anywhere in the world) to be seen fully naked — full frontal — in a mainstream film. Note: Hedy Lamarr, then billed as Hedy Kiesler, does swim and run around in the nude in Gustav Machaty’s 1933 Czech drama Ecstasy. However, Lamarr’s naked swimming was disguised by the water,...
- 10/9/2013
- by Andre Soares
- Alt Film Guide
"Leaving Los Angeles" would be a proper title for Abel Ferrara's "The Blackout", a graphically decadent depiction of a Hollywood movie star's slide into booze and drugs.
Thematically similar to Ferrara's "Bad Lieutenant", in which a cop's alcoholism ruined his life, this darkly delirious portrait is, by nature of the Hollywood milieu, much more salacious, both sexually and psychologically. While no one has ever accused Ferrara of being either upbeat or a prude, "Blackout", in its bawdy sexuality, often resembles an adult video, albeit one snuffed over with demonic obsession. With a charismatic and complex lead performance from Matthew Modine and his eminence bizarro, Dennis Hopper, doing a self-parody, "Blackout" should attract some cultish curiosity.
As some of us have heard, Hollywood can look the other way toward a star's drug addiction, and, in this case, screen star Matty (Modine) is encouraged to be as wild as he wants. Sexually, he has a new flavor every day, while pharmacologically, he's either sniffing or chugging. Still, he clamors for stability and deludes himself that his current wild child, Annie (Beatrice Dalle), is his one-and-only. Annie, however, is more realistic, having the keen perception to deduce that a guy who hangs out at a video company dedicated to bringing sexual saturnalia to the small screen might be a little conflicted as to his overall intentions.
And, most pointedly, she doesn't wish to mother the child of a "drug addict."
When confronted with her feelings, Matty not only goes into denial but into delirium, no longer able to control himself or even recall his actions: Has she left his life or has he killed her? Nightmares portend the worst -- and not even rehab, psychotherapy or the love of a good woman who looks like a supermodel (Claudia Schiffer) can assuage Matty's tormented despair.
As usual, Ferrara's stylistic will not be for every taste, but even detractors here will marvel at the production's shimmering sensuality. Admittedly, he has draped a horrible disease in G-string psychological garb, but the scenario (Marla Hanson, Christ Zois, Abel Ferrara) is generally credible and the characters identifiable. At its worst, the second half of the story is basically a drunk video as Matty spirals down into mania. "Blackout" is essentially structured in two parts, which might be blithely titled "Bottoms Up" (the bacchanalic first part) and "Bottomed Out" (the sickened second part).
Alternately dashing and debauched, Modine is well-cast as the drunkenly depraved Matty. As a sleazeball with auteuristic pretensions, Hopper is wildly entertaining as the smut-shooting video director, while Dalle is all wild sizzle as Matty's uninhibited "love."
"The Blackout" is brightest in its glossy visuals, with special praise to cinematographer Ken Kelsch for his sinuously glossy compositions and to composer Joe Delia for the drenched and steamy score.
THE BLACKOUT
Out of competition
MDP Worldwide
Presents in association with
Les Films Number One and CPA
An Edward Pressman Production
Producer Edward Pressman
Writer-director Abel Ferrara
Co-producers Pierre Kalfon, Michel Chambat
Executive producers Mark Damon, Alessandro Camon
Screenwriters Marla Hanson, Christ Zois,
Abel Ferrara
Director of photography Ken Kelsch
Production designer Richard Hoover
Music Joe Delia
Editor Anthony Redman
Cast:
Matty Matthew Modine
Micky Dennis Hopper
Annie Beatrice Dalle
Susan Claudia Schiffer
Annie 2 Sarah Lassez
Running time -- 89 minutes
No MPAA rating...
Thematically similar to Ferrara's "Bad Lieutenant", in which a cop's alcoholism ruined his life, this darkly delirious portrait is, by nature of the Hollywood milieu, much more salacious, both sexually and psychologically. While no one has ever accused Ferrara of being either upbeat or a prude, "Blackout", in its bawdy sexuality, often resembles an adult video, albeit one snuffed over with demonic obsession. With a charismatic and complex lead performance from Matthew Modine and his eminence bizarro, Dennis Hopper, doing a self-parody, "Blackout" should attract some cultish curiosity.
As some of us have heard, Hollywood can look the other way toward a star's drug addiction, and, in this case, screen star Matty (Modine) is encouraged to be as wild as he wants. Sexually, he has a new flavor every day, while pharmacologically, he's either sniffing or chugging. Still, he clamors for stability and deludes himself that his current wild child, Annie (Beatrice Dalle), is his one-and-only. Annie, however, is more realistic, having the keen perception to deduce that a guy who hangs out at a video company dedicated to bringing sexual saturnalia to the small screen might be a little conflicted as to his overall intentions.
And, most pointedly, she doesn't wish to mother the child of a "drug addict."
When confronted with her feelings, Matty not only goes into denial but into delirium, no longer able to control himself or even recall his actions: Has she left his life or has he killed her? Nightmares portend the worst -- and not even rehab, psychotherapy or the love of a good woman who looks like a supermodel (Claudia Schiffer) can assuage Matty's tormented despair.
As usual, Ferrara's stylistic will not be for every taste, but even detractors here will marvel at the production's shimmering sensuality. Admittedly, he has draped a horrible disease in G-string psychological garb, but the scenario (Marla Hanson, Christ Zois, Abel Ferrara) is generally credible and the characters identifiable. At its worst, the second half of the story is basically a drunk video as Matty spirals down into mania. "Blackout" is essentially structured in two parts, which might be blithely titled "Bottoms Up" (the bacchanalic first part) and "Bottomed Out" (the sickened second part).
Alternately dashing and debauched, Modine is well-cast as the drunkenly depraved Matty. As a sleazeball with auteuristic pretensions, Hopper is wildly entertaining as the smut-shooting video director, while Dalle is all wild sizzle as Matty's uninhibited "love."
"The Blackout" is brightest in its glossy visuals, with special praise to cinematographer Ken Kelsch for his sinuously glossy compositions and to composer Joe Delia for the drenched and steamy score.
THE BLACKOUT
Out of competition
MDP Worldwide
Presents in association with
Les Films Number One and CPA
An Edward Pressman Production
Producer Edward Pressman
Writer-director Abel Ferrara
Co-producers Pierre Kalfon, Michel Chambat
Executive producers Mark Damon, Alessandro Camon
Screenwriters Marla Hanson, Christ Zois,
Abel Ferrara
Director of photography Ken Kelsch
Production designer Richard Hoover
Music Joe Delia
Editor Anthony Redman
Cast:
Matty Matthew Modine
Micky Dennis Hopper
Annie Beatrice Dalle
Susan Claudia Schiffer
Annie 2 Sarah Lassez
Running time -- 89 minutes
No MPAA rating...
- 5/12/1997
- The Hollywood Reporter - Movie News
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