The recent retrospective of Juliet Berto’s acting work at the Brooklyn Academy of Music presents an artist who occupied the forefront of both formal and ideological reimaginings of the medium during her lifetime. An icon of the French New Wave for her roles in landmark films by Jacques Rivette and Jean-Luc Godard, she also regularly lent her presence to works of radical leftist filmmaking from directors such as Robert Kramer and Marin Karmitz. Neige, Berto’s 1981 directorial debut made in collaboration with her partner Jean-Henri Roger, bears the influence of these artists and synthesizes them into something entirely its own, a playful and unpretentious work that nonetheless retains a fierce political anger.
The title of the film—which translates to Snow in English—refers to heroin, the drug around which much of the plot revolves. Berto stars as Anita, a bartender in Paris’s racy Pigalle district whose committed...
The title of the film—which translates to Snow in English—refers to heroin, the drug around which much of the plot revolves. Berto stars as Anita, a bartender in Paris’s racy Pigalle district whose committed...
- 6/18/2023
- by Brad Hanford
- Slant Magazine
An over-the-counter nasal spray version of Narcan, the medication used to reverse the effects of an opioid overdose, was officially approved by the Food and Drug Administration today, March 29.
The move means the medication, also known as naloxone, will be available in drug stores, grocery stores, gas stations, and even vending machines by late summer, according to The New York Times. The widespread availability of naloxone has been sought by public health advocates for years, with many believing it could help curb the high rate of overdose fatalities. There were...
The move means the medication, also known as naloxone, will be available in drug stores, grocery stores, gas stations, and even vending machines by late summer, according to The New York Times. The widespread availability of naloxone has been sought by public health advocates for years, with many believing it could help curb the high rate of overdose fatalities. There were...
- 3/29/2023
- by Jon Blistein
- Rollingstone.com
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSEl Conde (Pablo Larraín).Natalie Portman will star opposite Julianne Moore in Todd Haynes's next film, May December, which begins filming later this year. In the film, an actress (Portman) meets with the woman she is due to portray (Moore) in a film that dramatizes her tabloid scandal.After Spencer, Pablo Larraín's next project with Netflix will be El Conde, a pitch-black comedy that will portray Chilean dictator Augusto Pinochet as a 250-year-old vampire.Pedro Almodóvar has announced a new 30-minute Western, Strange Way of Life, which he will shoot in August. The short stars Ethan Hawke and Pedro Pascal as two gunslingers, long separated, who must cross the Spanish desert to reunite. Almodóvar's next feature—an adaptation of Lucia Berlin's A Manual for Cleaning Women led by Cate Blanchett—begins filming early next year.
- 6/30/2022
- MUBI
“They've all come to look for America. All come to look for America. All come to look for America” —Simon & Garfunkel, "America"“That’s the Doctor”, says Robert Kramer at the start of Route One/USA (1989), talking sullenly over a series of shots of a sharply dressed man stepping off a freight ship and onto dry land. “We’ve been away a long time. We decided to come back together”, Kramer adds, before clarifying—“not home, but back.” He then starts to murmur, before trailing off. “Back there, behind you, the origins, the start.” After a pause, “let’s go” he says, reasserting his confidence through direct address. “Let’s go North, all the way North to where Route 1starts.” An intermittently audible but otherwise entirely invisible presence in his own documentary, Kramer says all that he needs to say about the film in these opening moments, introducing the mood...
- 1/26/2021
- MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSThe prolific, captivating Sean Connery has died. As critic Glenn Kenny writes in his obituary for Decider, Connery will always be "tied to the role of James Bond, [but] so many of Connery’s non-Bond roles were [...] fascinating, challenging, and cinematically important." Recommended VIEWINGGrasshopper Films' official trailer for the new 4k digital restoration of Manoel de Oliveira's 1981 Francisca, an adaptation of Agustina Bessa-Luís’ acclaimed novel. Oscilloscope has released the first trailer for The Twentieth Century, Matthew Rankine's dark comedy-drama that reimagines the life of former Canadian Prime Minister William Lyon Mackenzie King. The film won the Fipresci prize in the Forum section of the 2019 Berlinale. The Asian Film Archive has announced Monographs 2020, a series of video essays commissioned and conceived during lockdown. Featuring a wide range of filmmakers, the series aims to offer "an...
- 11/4/2020
- MUBI
The International Documentary Film Festival Amsterdam (IDFA) has unveiled the first docu films selected for its 33rd edition, including 30 titles heading from Berlin, Sundance and Cannes, among other festivals. The lineup also comprises 10 titles selected by Gianfranco Rosi for the Top 10 program. As previously announced, the fest will take place Nov. 18-29 with a hybrid format mixing physical and virtual events.
“This year more than ever, IDFA honors the festivals that, in spite of incredible circumstances, continue to champion the art of documentary filmmaking. The initial Best of Fests selection highlights both audience favorites and award-winning masterpieces. More titles to be announced,” stated Idfa.
The Best of Fest roster includes “The Truffle Hunters” by Michael Dweck and Gregory Kershaw, which premiered at Sundance and was part of Cannes and Telluride selections; Elizabeth Lo’s “Stray,” an award-winning film from Hot Docs and Tribeca portraying Turkish city life through the eyes...
“This year more than ever, IDFA honors the festivals that, in spite of incredible circumstances, continue to champion the art of documentary filmmaking. The initial Best of Fests selection highlights both audience favorites and award-winning masterpieces. More titles to be announced,” stated Idfa.
The Best of Fest roster includes “The Truffle Hunters” by Michael Dweck and Gregory Kershaw, which premiered at Sundance and was part of Cannes and Telluride selections; Elizabeth Lo’s “Stray,” an award-winning film from Hot Docs and Tribeca portraying Turkish city life through the eyes...
- 9/29/2020
- by Elsa Keslassy
- Variety Film + TV
The Amsterdan event is planned as a hybrid physical-digital edition.
International Documentary Film Festival Amsterdam (Idfa) has unveiled the first titles selected for edition, which is set to go ahead as a mix of physical and virtual events from November 18-29.
The festival will screen 30 documentaries first selected for the Berlinale, Sundance and Cannes under the banner Best of Fests.
Scroll down for full list of titles
The titles include The Truffle Hunters by Michael Dweck and Gregory Kershaw, which debuted at Sundance before being being selected for both Cannes and Telluride (although neither took place); and Elizabeth Lo’s Stray,...
International Documentary Film Festival Amsterdam (Idfa) has unveiled the first titles selected for edition, which is set to go ahead as a mix of physical and virtual events from November 18-29.
The festival will screen 30 documentaries first selected for the Berlinale, Sundance and Cannes under the banner Best of Fests.
Scroll down for full list of titles
The titles include The Truffle Hunters by Michael Dweck and Gregory Kershaw, which debuted at Sundance before being being selected for both Cannes and Telluride (although neither took place); and Elizabeth Lo’s Stray,...
- 9/29/2020
- by Michael Rosser
- ScreenDaily
Above: French poster for A Grin Without a Cat.Starting today, the Metrograph in New York will be launching an extensive series celebrating the 40th anniversary of one of the most dedicated, unsung heroes of U.S. film distribution: Icarus Films. Founded in 1978 by filmmaker Ilan Ziv and sold two years later (in exchange for a video camera) to Jonathan Miller who has run the company ever since, Icarus has become one of the leading repositories for aesthetically challenging, politically engaged documentary cinema. The two-week long series contains 56 films by some of the most important names in documentary film: Chantal Akerman, Jean Rouch, Peter Watkins, Chris Marker, Marcel Ophuls and Wang Bing, to name just a few.Finding posters for a lot of these films was not easy. Many of the titles were never really theatrical material (they range in length from 44 minutes to 345) and so a theatrical poster would...
- 9/14/2018
- MUBI
Stone worked as a producer, director, distributor and exhibitor in London and the Us.
Producer, director, distributor and exhibitor Barbara Stone, who worked in London and the Us, has died aged 83.
Stone was perhaps best known for founding the Gate Cinemas and Cinegate Film Distribution with her husband David Stone, who died in 2011.
The Gate Cinemas was one of the UK’s best-known independent cinema chains in the 1970s and 1980s. It started with the acquisition of the former Classic cinema at Notting Hill Gate in 1974, which was renamed the Gate, followed by the Gate 2 in Brunswick Square in 1978 and...
Producer, director, distributor and exhibitor Barbara Stone, who worked in London and the Us, has died aged 83.
Stone was perhaps best known for founding the Gate Cinemas and Cinegate Film Distribution with her husband David Stone, who died in 2011.
The Gate Cinemas was one of the UK’s best-known independent cinema chains in the 1970s and 1980s. It started with the acquisition of the former Classic cinema at Notting Hill Gate in 1974, which was renamed the Gate, followed by the Gate 2 in Brunswick Square in 1978 and...
- 3/27/2018
- by Orlando Parfitt
- ScreenDaily
Daniel Talbot, a distributor and exhibitor of enormous influence over specialized exhibition and distribution as well as the international film world, died Friday in Manhattan. He was 91. A memorial was held Sunday, December 31 at the Riverside Memorial Chapel with a capacity audience including many leading New York specialized players. Talbot’s wife and business partner, Toby Talbot, as well as daughters Nina, Emily and Sara attended the memorial, where the family spoke fondly about Talbot’s love for the comedian W.C. Fields.
Another more public post-holiday event marking the closing of the Lincoln Plaza Cinemas is scheduled on January 28 in New York. The last few weeks have seen Talbot’s legacy celebrated with reaction to the unexpected announcement that the six-screen Upper West Side theater would close at the end of January, at the expiration of its lease. Milstein Properties, who have been the Talbots’ co-partners in the theater since...
Another more public post-holiday event marking the closing of the Lincoln Plaza Cinemas is scheduled on January 28 in New York. The last few weeks have seen Talbot’s legacy celebrated with reaction to the unexpected announcement that the six-screen Upper West Side theater would close at the end of January, at the expiration of its lease. Milstein Properties, who have been the Talbots’ co-partners in the theater since...
- 1/1/2018
- by Tom Brueggemann
- Indiewire
“There will soon be nothing more than self-communicating zombies, whose lone umbilical relay will be their own feedback image – electronic avatars of dead shadows perpetually retelling their own story.” —Jean Baudrillard in Telemorphosis Around 1979 the American filmmaker Robert Kramer and the French schizo-analyst Félix Guattari started working together on a film about two Italian fugitives from the Italian Autonomia Movement, Latitante. The film, which was to star Pier Paolo Pasolini's regular actress Laura Betti, was meant to be a sort of first person collective reflection on the finitude and fragility of the body, “opposing the enormous weight of things-as-they-are, systematically defined by vast power.” A film about the intimacy of resistance. Somewhere along the way the film morphed into a significantly different creature, the science fiction flick A Love of Uiq, a formal shift (sub)consciously informed by the wider political changes taking place off screen: from the grand...
- 5/3/2016
- MUBI
Selection includes competition titles, a focus on Southeast Asia and a ‘Top 10’ compiled by director Rithy Panh.
The selection for the 26th Idfa (International Documentary Film Festival Amsterdam) has been unveiled and includes 288 titles – selected from more than 3,000 submissions – of which 100 will receive their world premiere during the festival (Nov 20 – Dec 1).
There will be a strand dedicated to documentaries from Southeast Asia titled Emerging Voices from Southeast Asia.
This year’s Idfa Top 10 is compiled by Cambodian director Rithy Panh, and a retrospective of his work will be screening at the festival.
Panh, whose doc The Missing Picture won the Un Certain Regard strand at Cannes in May, has selected:
Alone
Wang Bing (Hong Kong/France, 2012)Don’t Look Back
D.A. Pennebaker (USA, 1967)Farrebique - The Four Seasons
Georges Rouquier (France, 1946)The Football Incident
Joris Ivens/Marceline Loridan-Ivens (France, 1976)I Am Cuba
Mikheil Kalatozishvili (Cuba/Russia, 1964)In Vanda’s Room
Pedro Costa (Portugal, 2000)A Man Vanishes...
The selection for the 26th Idfa (International Documentary Film Festival Amsterdam) has been unveiled and includes 288 titles – selected from more than 3,000 submissions – of which 100 will receive their world premiere during the festival (Nov 20 – Dec 1).
There will be a strand dedicated to documentaries from Southeast Asia titled Emerging Voices from Southeast Asia.
This year’s Idfa Top 10 is compiled by Cambodian director Rithy Panh, and a retrospective of his work will be screening at the festival.
Panh, whose doc The Missing Picture won the Un Certain Regard strand at Cannes in May, has selected:
Alone
Wang Bing (Hong Kong/France, 2012)Don’t Look Back
D.A. Pennebaker (USA, 1967)Farrebique - The Four Seasons
Georges Rouquier (France, 1946)The Football Incident
Joris Ivens/Marceline Loridan-Ivens (France, 1976)I Am Cuba
Mikheil Kalatozishvili (Cuba/Russia, 1964)In Vanda’s Room
Pedro Costa (Portugal, 2000)A Man Vanishes...
- 10/11/2013
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
This is a talk given by French director of photography Caroline Champetier at the La Roche-sur-Yon International Film Festival in October 2012, originally published in two parts on the festival’s site (www.fif-85.com). This translation is being published with their kind permission. This year's festival will take place from October 16-21, Kelly Reichardt will be the guest of honor. Many thanks to Emmanuel Burdeau, programmer of the festival, Jordan Mintzer and Caroline Champetier.
Caroline Champetier: I’ve always tried to take a step back from what I’m doing. The more I work, however, the less I’m able to deal with this exercise. I just finished production on Claude Lanzmann’s The Last of the Unjust and have barely said goodbye to David Teboul, a young director who I worked with on Cinq avenue Marceau (2002), a film I think very highly of and that’s about Yves Saint Laurent’s last collection.
Caroline Champetier: I’ve always tried to take a step back from what I’m doing. The more I work, however, the less I’m able to deal with this exercise. I just finished production on Claude Lanzmann’s The Last of the Unjust and have barely said goodbye to David Teboul, a young director who I worked with on Cinq avenue Marceau (2002), a film I think very highly of and that’s about Yves Saint Laurent’s last collection.
- 9/20/2013
- by Ted Fendt
- MUBI
Andre Techine
This new column for Sound on Sight will feature Cahiers du Cinema critics-turned-filmmakers. However, it will not cover the infamous New Wave directors, but four other filmmakers who wrote for the journal and subsequently became directors. What follows is a brief history of the journal and its association with the four filmmakers that will be covered in this column.
I. A Brief History of Cahiers du Cinema
Cahiers du Cinema has been a prominent film journal for the last 60 years, famous for introducing the concept of les politiques des auteurs, which became the auteur theory in North America thanks to Andrew Sarris, and more famous for playing a major role in the French New Wave. The journal has gone through many shifts and turns, beginning with Andre Bazin as the editor-in-chief to the current editor-in-chief Stephane Delorme.
The history of the journal can be broken into six periods:...
This new column for Sound on Sight will feature Cahiers du Cinema critics-turned-filmmakers. However, it will not cover the infamous New Wave directors, but four other filmmakers who wrote for the journal and subsequently became directors. What follows is a brief history of the journal and its association with the four filmmakers that will be covered in this column.
I. A Brief History of Cahiers du Cinema
Cahiers du Cinema has been a prominent film journal for the last 60 years, famous for introducing the concept of les politiques des auteurs, which became the auteur theory in North America thanks to Andrew Sarris, and more famous for playing a major role in the French New Wave. The journal has gone through many shifts and turns, beginning with Andre Bazin as the editor-in-chief to the current editor-in-chief Stephane Delorme.
The history of the journal can be broken into six periods:...
- 9/10/2013
- by Cody Lang
- SoundOnSight
Ben Rivers and Ben Russell, two artists whose accomplished individual bodies of work already complement one another with overlapping ambitions, ideas and approaches, co-direct A Spell to Ward Off the Darkness (which has just premiered here in Locarno in the Fuori concorso section), a three part manifesto on the potential for utopian living, and a loose, fluid (distinctly apolitical and secular) definition of what that may be. Beginning in a commune in the Lofoten Islands, Rivers and Russell fleetingly document moments of life, music and conversation among a peaceful collective of people, before jarringly switching to a portrayal of a tranquil solitude in the wilderness of Northern Finland as a figure canoes and settles on the shore, and, finally, a black metal performance in Norway. These three parts are seemingly disparate, but tonally unite in Rivers and Russell's unbiased presentation. One of the central elements that connect these three parts are the film's main figure,...
- 8/12/2013
- by Adam Cook
- MUBI
“My name is Joaquim, and my life has nothing special.”
This is how the film begins, and the film is what makes (among other things) Joaquim Pinto special.
A notebook, a diary. A tale of pains and joys, of suffering and struggling. Of books and films. Of many places and moves. Of memories and images that come again and again. A tale of bodies, cells, and the making of mankind.
Almost 20 years ago, Joaquim Pinto has been diagnosed with AIDS. After having gone through all available treatments, he has entered an experimental program with a Spanish specialist.
From November 2011 on, Joaquim has been making a film: the notebook of one year of tests and treatment, of limited activity. But also a year of going through one’s memories, a year to study and think, a year to live with Nuno, his life partner and husband, to live with the neighbors and the friends,...
This is how the film begins, and the film is what makes (among other things) Joaquim Pinto special.
A notebook, a diary. A tale of pains and joys, of suffering and struggling. Of books and films. Of many places and moves. Of memories and images that come again and again. A tale of bodies, cells, and the making of mankind.
Almost 20 years ago, Joaquim Pinto has been diagnosed with AIDS. After having gone through all available treatments, he has entered an experimental program with a Spanish specialist.
From November 2011 on, Joaquim has been making a film: the notebook of one year of tests and treatment, of limited activity. But also a year of going through one’s memories, a year to study and think, a year to live with Nuno, his life partner and husband, to live with the neighbors and the friends,...
- 8/10/2013
- by Marie-Pierre Duhamel
- MUBI
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
Reviewer: Simon Paul Augustine
Ratings (out of five): Milestones ****
Ice ** 1/2
“I was having this dream, the feeling of a gap between what I believe in, and what my life is like day to day…” – from Milestones
Even in the context of underground cinema of the late 60’s and 70’s, Robert Kramer’s Milestones stands as a dizzying confluence of genres and styles, reality and fiction. Kramer is a prominent figure in the American Diy scene that existed forty years ago – a time when auteurs outside the Hollywood system, in lieu of the unprecedented access to video and computer technology that fuels today’s indies, were heir to a tradition that used real film stock and mother-of-invention ingenuity to plumb the possibilities of how celluloid, including its physical tangibility, could harnessed for expression. Part of a lineage that included predecessors like Stan Brakhage and Kenneth Anger, Kramer and his contemporaries merged text,...
Ratings (out of five): Milestones ****
Ice ** 1/2
“I was having this dream, the feeling of a gap between what I believe in, and what my life is like day to day…” – from Milestones
Even in the context of underground cinema of the late 60’s and 70’s, Robert Kramer’s Milestones stands as a dizzying confluence of genres and styles, reality and fiction. Kramer is a prominent figure in the American Diy scene that existed forty years ago – a time when auteurs outside the Hollywood system, in lieu of the unprecedented access to video and computer technology that fuels today’s indies, were heir to a tradition that used real film stock and mother-of-invention ingenuity to plumb the possibilities of how celluloid, including its physical tangibility, could harnessed for expression. Part of a lineage that included predecessors like Stan Brakhage and Kenneth Anger, Kramer and his contemporaries merged text,...
- 2/21/2012
- by weezy
- GreenCine
The seventh version of the list of "1000 Greatest Films" at They Shoot Pictures, Don't They?, as "voted by 2161 critics, filmmakers, reviewers, scholars and other likely film types," has just gone up and, as Bill Georgaris notes before breaking it down — additions, subtractions, methodology and so on — this will be "the last update prior to the publication of the 'earth-shattering' Sight & Sound poll which will be unfurled later in the year," becoming "the most heavily weighted poll within our calculations. Anyway, that is then, and this is now." And it's a fascinating browse made all the more fun by the recent redesign of the site.
At Tativille, Michael J Anderson surveys the year in cinema, taking into consideration the results of the 2011 Mini-Poll at affiliate site Ten Best Films; and Lisa K Broad lists her top ten.
The 58 members of the National Society of Film Critics have gathered at Sardi's in...
At Tativille, Michael J Anderson surveys the year in cinema, taking into consideration the results of the 2011 Mini-Poll at affiliate site Ten Best Films; and Lisa K Broad lists her top ten.
The 58 members of the National Society of Film Critics have gathered at Sardi's in...
- 1/8/2012
- MUBI
Punishment Park (Masters of Cinema) is to be released in the UK in a new Dual Format Blu-ray + DVD edition on 23 January 2012. We have three copies of the Blu-ray to give away.
Both controversial and relentless in its depiction of suppression and brutality, Punishment Park was heavily attacked by the mainstream press and permitted only the barest of releases in 1971. However, like Haskell Wexler’s Medium Cool (1969) and Robert Kramer’s Ice (1969), Peter Watkins’ film has established itself as one of the key, yet rarely seen, radical films of the late 1960s/early 1970s. Giving voice to the disaffected youth of America that had lived through the campus riots at Berkeley, the trial of the Chicago Seven and who were witnessing the escalation of the Vietnam War, Punishment Park was named by Rolling Stone as one of their top ten films of 1971 and has earned many admirers in the four decades since its release.
Both controversial and relentless in its depiction of suppression and brutality, Punishment Park was heavily attacked by the mainstream press and permitted only the barest of releases in 1971. However, like Haskell Wexler’s Medium Cool (1969) and Robert Kramer’s Ice (1969), Peter Watkins’ film has established itself as one of the key, yet rarely seen, radical films of the late 1960s/early 1970s. Giving voice to the disaffected youth of America that had lived through the campus riots at Berkeley, the trial of the Chicago Seven and who were witnessing the escalation of the Vietnam War, Punishment Park was named by Rolling Stone as one of their top ten films of 1971 and has earned many admirers in the four decades since its release.
- 12/2/2011
- by Matt Holmes
- Obsessed with Film
"Geoff Dyer's forthcoming book Zona (2012) has a premise that is so simple and brilliant it seems almost a wonder that it hasn't been tried before," blogs Katie Kitamura for frieze. "[A]s the book's subtitle puts it, Zona is 'A Book About a Film About a Journey to a Room.' In other words, a book about Andrei Tarkovsky's seminal Stalker (1979), itself loosely based on the novel Roadside Picnic (1971), by Boris and Arkady Strugatsky. 'Loosely' is key here. The skeleton of Zona is something like a glorified transcript of Tarkovsky's film, a factual description of what is seen on the screen…. But Zona hangs a great deal onto the scaffolding of this formal conceit. The book itself is full of digressions, both filmic and personal, as well as footnotes, interpretations, imprecations and asides. There's a definite gulf between the tone of Zona and the tone of Stalker, which is almost...
- 10/28/2011
- MUBI
Us film producer who became an innovative London cinema owner
David Stone, who has died aged 78, played significant roles both in radical Us film-making of the 1960s and in Britain's golden age of arthouse cinemas in the 1970s. In 1974, David and his wife, Barbara, acquired the former Classic cinema, at Notting Hill Gate, west London, which they transformed and renamed the Gate. They opened their own distribution company, Cinegate, whose first acquisition was three films by the young German director Rainer Werner Fassbinder: The Merchant of Four Seasons (1971); The Bitter Tears of Petra von Kant (1972); and Fear Eats the Soul (1974). The first Fassbinder films to be shown in Britain, these brought the Gate instant critical and box-office success at its opening in September that year.
The Gate often enjoyed success with films others had passed over, including La Cage Aux Folles (1978), and Woody Allen's Annie Hall (1977) and Manhattan...
David Stone, who has died aged 78, played significant roles both in radical Us film-making of the 1960s and in Britain's golden age of arthouse cinemas in the 1970s. In 1974, David and his wife, Barbara, acquired the former Classic cinema, at Notting Hill Gate, west London, which they transformed and renamed the Gate. They opened their own distribution company, Cinegate, whose first acquisition was three films by the young German director Rainer Werner Fassbinder: The Merchant of Four Seasons (1971); The Bitter Tears of Petra von Kant (1972); and Fear Eats the Soul (1974). The first Fassbinder films to be shown in Britain, these brought the Gate instant critical and box-office success at its opening in September that year.
The Gate often enjoyed success with films others had passed over, including La Cage Aux Folles (1978), and Woody Allen's Annie Hall (1977) and Manhattan...
- 5/26/2011
- The Guardian - Film News
When Anthology Film Archives ran a retrospective of the films of Robert Kramer last summer they called him “one of the greatest and most committed of all radical American filmmakers.” He is also one of the least known, with none of his 14 features available on DVD in the Us. (Glenn Kenny wrote here last month about the French release of his masterpiece Route One/USA.)
Until I saw this superb poster, I had never even heard of Guns, which played at the 1980 New York Film Festival the same year Kramer moved permanently to France (where he was better appreciated and where he passed away in 1999). A film about Angolan gun runners and oil exports—hence the spelling of the title in freight containers—Guns starred Patrick Bauchau in his first acting role in the 13 years since Rohmer’s La collectioneuse (now of course he's barely ever off American TV screens...
Until I saw this superb poster, I had never even heard of Guns, which played at the 1980 New York Film Festival the same year Kramer moved permanently to France (where he was better appreciated and where he passed away in 1999). A film about Angolan gun runners and oil exports—hence the spelling of the title in freight containers—Guns starred Patrick Bauchau in his first acting role in the 13 years since Rohmer’s La collectioneuse (now of course he's barely ever off American TV screens...
- 5/9/2010
- MUBI
When Anthology Film Archives ran a retrospective of the films of Robert Kramer last summer they called him “one of the greatest and most committed of all radical American filmmakers.” He is also one of the least known, with none of his 14 features available on DVD in the Us. (Glenn Kenny wrote here last month about the French release of his masterpiece Route One/USA.)
Until I saw this superb poster, I had never even heard of Guns, which played at the 1980 New York Film Festival the same year Kramer moved permanently to France (where he was better appreciated and where he passed away in 1999). A film about Angolan gun runners and oil exports—hence the spelling of the title in freight containers—Guns starred Patrick Bauchau in his first acting role in the 13 years since Rohmer’s La collectioneuse (now of course he's barely ever off American TV screens...
Until I saw this superb poster, I had never even heard of Guns, which played at the 1980 New York Film Festival the same year Kramer moved permanently to France (where he was better appreciated and where he passed away in 1999). A film about Angolan gun runners and oil exports—hence the spelling of the title in freight containers—Guns starred Patrick Bauchau in his first acting role in the 13 years since Rohmer’s La collectioneuse (now of course he's barely ever off American TV screens...
- 5/9/2010
- MUBI
David Cairns
The Forgotten: Flaming Beefcake
The Forgotten: Remember You Must Die
The Forgotten: That Glaring Young Man on the Flying Trapeze
The Forgotten: Forty Million Frenchmen
The Forgotten: April 29
Fernando F. Croce
Now on DVD: “Panic in the Streets” (Elia Kazan, 1950)
Adrian Curry
Movie Poster of the Week: "Punch-Drunk Love"
Movie Poster of the Week: "La Salamandre"
Movie Poster of the Week: "Band of Ninja"
Movie Poster of the Week: "Oh, That Nastya!"
David D'Arcy
Podcast. David D'Arcy and Alexei Popogrebsky
Podcast. Bahman Ghobadi, Roxana Saberi and Obash of The Yellow Dogs
The Ferroni Brigade
The Way to the Golden Donkey
Sex and Politics: Jack Stevenson's "Scandinavian Blue: The Erotic Cinema of Sweden and Denmark in the 1960s and 1970s"
Daniel Kasman
Video Sundays: Music Videos by An Older Generation
Image of the Day: Damsels in Distress #3
Video Sundays. From Hollywood to New German Cinema, The Impressionist Whirligig Camera...
The Forgotten: Flaming Beefcake
The Forgotten: Remember You Must Die
The Forgotten: That Glaring Young Man on the Flying Trapeze
The Forgotten: Forty Million Frenchmen
The Forgotten: April 29
Fernando F. Croce
Now on DVD: “Panic in the Streets” (Elia Kazan, 1950)
Adrian Curry
Movie Poster of the Week: "Punch-Drunk Love"
Movie Poster of the Week: "La Salamandre"
Movie Poster of the Week: "Band of Ninja"
Movie Poster of the Week: "Oh, That Nastya!"
David D'Arcy
Podcast. David D'Arcy and Alexei Popogrebsky
Podcast. Bahman Ghobadi, Roxana Saberi and Obash of The Yellow Dogs
The Ferroni Brigade
The Way to the Golden Donkey
Sex and Politics: Jack Stevenson's "Scandinavian Blue: The Erotic Cinema of Sweden and Denmark in the 1960s and 1970s"
Daniel Kasman
Video Sundays: Music Videos by An Older Generation
Image of the Day: Damsels in Distress #3
Video Sundays. From Hollywood to New German Cinema, The Impressionist Whirligig Camera...
- 5/2/2010
- MUBI
After a nearly ten-year sojourn from the States, U.S.-born filmmaker Robert Kramer came back in 1987 with actor Paul McIsaac to create what one might call a semi-fictional documentary. With McIsaac embodying "Doc," a created friend of Kramer who, in this film's story, had been working in the Third World while Kramer himself was based in Paris, Kramer set out on a trek to rediscover America, as it were. Rather than take off from where their ship came in—New York City—they head north, the better to traveling down the film's eponymous highway from the top of Maine to the Florida Keys. At first the duo's mission seems to be merely to make a film—"We're going back, not going home," Kramer announces early on—but as Doc's character comes to the fore, and perhaps Kramer's own aims change, Doc begins to actively seek a place and a...
- 4/6/2010
- MUBI
I. Festivals And Ideology
"I cannot tell a lie," writes Jonathan Rosenbaum in the catalogue introduction to the retrospective on American film comedy he curated for this year's Viennale (in collaboration with the Austrian Filmmuseum), "the initial concept and impulse for this series weren’t my own." A paragraph later, he goes on to explain, "[...] both the selection of the films and the preparation of this catalogue [...] came only after I overcame a certain amount of resistance." And as if he weren't transparent enough, Rosenbaum adds, "I was tempted by [the Viennale and Filmmuseum directors' joint proposal], but various roadblocks stood in the way, most of them either logistical or ideological." One of these roadblocks, "a reluctance to restrict [himself] to 'American cinema' after living through eight years of American separatism and exceptionalism as propounded and promulgated by the administration of George W. Bush," is not much of an ideological leap for those familiar with Rosenbaum.
"I cannot tell a lie," writes Jonathan Rosenbaum in the catalogue introduction to the retrospective on American film comedy he curated for this year's Viennale (in collaboration with the Austrian Filmmuseum), "the initial concept and impulse for this series weren’t my own." A paragraph later, he goes on to explain, "[...] both the selection of the films and the preparation of this catalogue [...] came only after I overcame a certain amount of resistance." And as if he weren't transparent enough, Rosenbaum adds, "I was tempted by [the Viennale and Filmmuseum directors' joint proposal], but various roadblocks stood in the way, most of them either logistical or ideological." One of these roadblocks, "a reluctance to restrict [himself] to 'American cinema' after living through eight years of American separatism and exceptionalism as propounded and promulgated by the administration of George W. Bush," is not much of an ideological leap for those familiar with Rosenbaum.
- 11/13/2009
- MUBI
James Cameron in Los Angeles with 70Mm prints of "Aliens" and "The Abyss"?!?! The Dardenne brothers in New York for a career retrospective?!?! The instant cult classic "The Room" with Tommy Wiseau live in Austin?!?! Be still my heart. There's something for all tastes this summer on the West Coast, the East Coast and as you'll notice, the Third Coast on our calendar of the must-see events on the repertory theater circuit in May, June and July. And don't miss our look at the indie films that are hitting theaters or headed to online, VOD or DVD premiere this summer.
Anthology Film Archives
With the New York Polish Film Festival (May 6-10) and first-runs of the docs "Ice People" (May 1-7) and "Audience of One" (May 8-14) and Ken Jacobs' reinvention of his 1969 work "Tom, Tom, The Piper's Son" with the 3D "Anaglyph Tom" (May 15-21) taking up the Anthology's screens,...
Anthology Film Archives
With the New York Polish Film Festival (May 6-10) and first-runs of the docs "Ice People" (May 1-7) and "Audience of One" (May 8-14) and Ken Jacobs' reinvention of his 1969 work "Tom, Tom, The Piper's Son" with the 3D "Anaglyph Tom" (May 15-21) taking up the Anthology's screens,...
- 5/5/2009
- by Stephen Saito
- ifc.com
- Offering no shortage of world premieres from auteur filmmakers, the 40th edition of the Directors’ Fortnight contains exactly half of the films being produced or co-produced from the fest’s home turf, this year it will be a mostly French affair. Among the more popular names we find the festival opener slot (announced yesterday) belonging to the long-awaited return of Jerzy Skolimowski and his latest and we also find the likes of former folk who’ve contributed to the section in the past: Joachim Lafosse (Private Property) and Bertrand Bonello (Tiresia) and Claire Simon (Ça brûle). A common meeting place for auteur cinema, a special film was designed to recall the history of the section with testimonies from a who's who of favorite directors in Todd Haynes, Jacques Rozier, Costa Gavras, Michael Raeburn, Ken Loach, Alain Tanner, Carlos Diegues, Werner Herzog, Theo Angelopoulos, André Téchiné, Chantal Akerman, the Taviani brothers,
- 4/25/2008
- IONCINEMA.com
COLOGNE, Germany -- The Hollywood era of Easy Rider, Bonnie and Clyde and Taxi Driver will be celebrated at next year's Berlin International Film Festival with a retrospective dedicated to American films of the late '60s and early '70s. Titled "New Hollywood 1967-1976: Trouble in Wonderland," the retrospective will screen 66 films spanning the years from Arthur Penn's Bonnie and Clyde to Martin Scorsese's Taxi Driver. In addition to such classics of the era as Terrence Malick's Badlands, Roman Polanski's Chinatown, Peter Bogdanovich's The Last Picture Show and Francis Ford Coppola's The Godfather and The Godfather II, the retrospective will include lesser-known titles including Monte Hellman's Two-Lane Blacktop and Bill L. Norton's Cisco Pike. The festival also will screen several documentaries from the period, including Robert Kramer's Milestones and D.A. Pennebaker's portrait of Bob Dylan, Don't Look Back.
- 11/5/2003
- The Hollywood Reporter - Movie News
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