The Mother and the Whore.Jean Eustache orbited the world of criticism without ever fully falling into it. His intellectual biographer, Alain Philippon, describes him as a marginal figure at Cahiers du Cinéma in the 1960s and yet actively involved in the debates unfolding in its offices.1 Though Eustache was close with future Cahiers editor-in-chief Jean-Louis Comolli and the magazine championed his films from the start, his critical output was minuscule. He started contributing to Cahiers only after completing his first short, Bad Company (1963). Even then, he wrote little, publishing a few brief pieces on some early films by Paul Vecchiali, Jean-Daniel Pollet, and Costa-Gavras. Luc Moullet would later admit that prior to Bad Company, he thought him the only person at Cahiers “that had absolutely nothing to do with the movies.”2 Indeed, Eustache was often at the offices to pick up his wife, who was employed as a secretary at the magazine.
- 2/26/2024
- MUBI
Gabe Klinger previously wrote at Filmmaker about the making of his Double Play: James Benning and Richard Linklater (2013), which is now available on the Criterion Channel. Here, he recounts the last nine years of what he describes as “his sometimes uneasy path as a feature filmmaker” and discusses his latest project. — Editor It’s approaching a decade since I shared some anecdotes in these pages about directing my debut feature, Double Play: James Benning and Richard Linklater. Conceived with support from Ciné+ — a French pay TV channel where one of our producers, André S. Labarthe, had a pipeline deal […]
The post Looking Back: Double Play: James Benning and Richard Linklater Director Gabe Klinger on the Six-Year Journey to a New Feature first appeared on Filmmaker Magazine.
The post Looking Back: Double Play: James Benning and Richard Linklater Director Gabe Klinger on the Six-Year Journey to a New Feature first appeared on Filmmaker Magazine.
- 6/2/2022
- by Gabe Klinger
- Filmmaker Magazine-Director Interviews
Gabe Klinger previously wrote at Filmmaker about the making of his Double Play: James Benning and Richard Linklater (2013), which is now available on the Criterion Channel. Here, he recounts the last nine years of what he describes as “his sometimes uneasy path as a feature filmmaker” and discusses his latest project. — Editor It’s approaching a decade since I shared some anecdotes in these pages about directing my debut feature, Double Play: James Benning and Richard Linklater. Conceived with support from Ciné+ — a French pay TV channel where one of our producers, André S. Labarthe, had a pipeline deal […]
The post Looking Back: Double Play: James Benning and Richard Linklater Director Gabe Klinger on the Six-Year Journey to a New Feature first appeared on Filmmaker Magazine.
The post Looking Back: Double Play: James Benning and Richard Linklater Director Gabe Klinger on the Six-Year Journey to a New Feature first appeared on Filmmaker Magazine.
- 6/2/2022
- by Gabe Klinger
- Filmmaker Magazine - Blog
Mark Allison Jul 11, 2019
To celebrate the 60th anniversary of Hitchcock's spy thriller, we look at how the classic actioner set the template for a new kind of movie.
This article comes from Den of Geek UK.
Alfred Hitchcock was never content with mastering a single genre. Having spent the 1950s perfecting the murder mystery (Rear Window), crime drama (To Catch a Thief), and psychological thriller (Vertigo), the master of suspense ended the decade by turning his lens to the world of spies and statecraft.
Now 60 years on from its premiere in Chicago, North by Northwest remains the perfect espionage thriller, providing the template for James Bond, Ethan Hunt, and six decades of imitators.
Eschewing the slow-burn suspense and hushed atmosphere of Hitchcock's earlier spy thrillers like The 39 Steps (1935) and Saboteur (1942), North by Northwest pioneered a new breed of action cinema rooted in larger-than-life adventure and momentous setpieces. Indeed, the...
To celebrate the 60th anniversary of Hitchcock's spy thriller, we look at how the classic actioner set the template for a new kind of movie.
This article comes from Den of Geek UK.
Alfred Hitchcock was never content with mastering a single genre. Having spent the 1950s perfecting the murder mystery (Rear Window), crime drama (To Catch a Thief), and psychological thriller (Vertigo), the master of suspense ended the decade by turning his lens to the world of spies and statecraft.
Now 60 years on from its premiere in Chicago, North by Northwest remains the perfect espionage thriller, providing the template for James Bond, Ethan Hunt, and six decades of imitators.
Eschewing the slow-burn suspense and hushed atmosphere of Hitchcock's earlier spy thrillers like The 39 Steps (1935) and Saboteur (1942), North by Northwest pioneered a new breed of action cinema rooted in larger-than-life adventure and momentous setpieces. Indeed, the...
- 7/11/2019
- Den of Geek
Paolo Moretti to head up Quinzaine from next year.
The programming team for the 2019 edition of Cannes Directors’ Fortnight (May 15-25) has been revealed.
The new Quinzaine delegate general, Italian film programmer Paolo Moretti, replaced previous head Edouard Waintrop after this year’s edition.
The selection committee comprises:
Festival programmer, film writer and producer Paolo Bertolin, who has worked for Venice Film Festival, Rotterdam, Doha Film Institute, Locarno Festival and Cannes’ Critics’ Week, among others.
Anne Delseth, a member of the Directors’ Fortnight selection committee since 2012. She joined the committee for Locarno Festival this year and is also a consultant...
The programming team for the 2019 edition of Cannes Directors’ Fortnight (May 15-25) has been revealed.
The new Quinzaine delegate general, Italian film programmer Paolo Moretti, replaced previous head Edouard Waintrop after this year’s edition.
The selection committee comprises:
Festival programmer, film writer and producer Paolo Bertolin, who has worked for Venice Film Festival, Rotterdam, Doha Film Institute, Locarno Festival and Cannes’ Critics’ Week, among others.
Anne Delseth, a member of the Directors’ Fortnight selection committee since 2012. She joined the committee for Locarno Festival this year and is also a consultant...
- 7/17/2018
- by Orlando Parfitt
- ScreenDaily
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAndré S. Labarthe, critic and producer of the long running Cinéastes de notre temps film series covering famed film directors, has died.In memory of André S. Labarthe, who, with Janine Bazin, created the TV series Cinéastes de notre temps, a historic, inexhaustible trove of filmed portraits of directors and interviews with them and associates (too often only seen as DVD-extra snippets): https://t.co/t7qm8AlT4b— Richard Brody (@tnyfrontrow) March 5, 2018Following a report earlier this year, award winning director Kim Ki-duk has been further accused of sexual abuse. The actresses making said claims remain anonymous in fear of being publicly shamed, Yahoo reports.Quentin Tarantino is making moves on his controversial new project, which appears in part to concern the Manson family murders. Variety reports that Brad Pitt has joined the project alongside Leonardo DiCaprio.
- 3/8/2018
- MUBI
Actress Lucie Lucas, director Gabe Klinger, and actor Anton YelchinYou may already know the work of Brazilian-born American Gabe Klinger, perhaps through his writing as a critic for Cinema Scope and Sight & Sound, or through his programming at such venues as the Museum of Modern Art and the International Film Festival Rotterdam. In 2013, Klinger leapt behind the camera for his delightfully idiosyncratic debut film, Double Play, a documentary twofer chatting with and exploring the work of two distinctively different yet unexpectedly compatible American filmmakers, Richard Linklater and James Benning. This move to documenting (and combining) favorite filmmakers seemed like a natural extension of Klinger's advocacy in print and work at cinematheques and film festivals. Yet rather than remaining in the documentary mode, for his follow-up Klinger has gone overseas to Portugal to make a cleverly time-addled romance that's at once elated and melancholy. Porto, taking place in a dreamy, remembered...
- 9/20/2016
- MUBI
Sometimes, when thinking of genius directors, it’s hard not to imagine them as constantly creating and working on their passion — hidden in a bubble of creativity with like-minded individuals always striving towards a vision. In reality, there is a lot of stuff in between. A 1990 documentary titled The Scorsese Machine follows the New York-born auteur through a day-in-the-life look at his life in the film business. A key phrase there is “business.” Phone calls, meetings, and general scrambling-around are motifs throughout the piece.
Even when every word cannot be made out through the clipping and grain, it is fascinating to see a seminal director handle day-to-day activities. Directed by André S. Labarthe, it also features a rather ingenious title card, with a long pushing shot that glides through a door, over a television playing Raging Bull, and looks at a desk where Scorsese sits talking hurriedly on the phone.
Even when every word cannot be made out through the clipping and grain, it is fascinating to see a seminal director handle day-to-day activities. Directed by André S. Labarthe, it also features a rather ingenious title card, with a long pushing shot that glides through a door, over a television playing Raging Bull, and looks at a desk where Scorsese sits talking hurriedly on the phone.
- 7/13/2016
- by Mike Mazzanti
- The Film Stage
How would you program this year's newest, most interesting films into double features with movies of the past you saw in 2015?Looking back over the year at what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2015—in theatres or at a festival—and creatively pair it with an old film they also saw in 2015 to create a unique double feature.All the contributors were given the option to write some text explaining their 2015 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch...
- 1/4/2016
- by Notebook
- MUBI
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
On the occasion of Anthology Film Archive's retrospective on Jean Epstein and the publishing of a new anthology on the filmmaker edited by Sarah Keller and Jason N. Paul, Jean Epstein: Critical Essays and New Translations, we are here reprinting the essay by Nicole Brenez, "Ultra-Modern: Jean Epstein, or Cinema 'Serving the Forces of Transgression and Revolt.'" The anthology is published by Amsterdam University Press and available in the Us and Canada from the University of Chicago Press. Many thanks to Amsterdam University Press, University of Chicago Press, Magdalena Hernas, Sarah Keller and Nicole Brenez.
Jean Epstein disappeared over half a century ago, in 1953. Yet, few filmmakers are still as alive today. At the time, a radio broadcast announced the following obituary: “Jean Epstein has just died. This name may not mean much to many of those who turn to the screens to provide them with the weekly dose of emotion they need.
Jean Epstein disappeared over half a century ago, in 1953. Yet, few filmmakers are still as alive today. At the time, a radio broadcast announced the following obituary: “Jean Epstein has just died. This name may not mean much to many of those who turn to the screens to provide them with the weekly dose of emotion they need.
- 5/30/2012
- MUBI
Last Year at Marienbad is often relegated to a peak of the separate-but-not-quite-equal Left Bank branch of the French New Wave, but as revealed in a longform interview with director Alain Resnais by André Labarthe and Jacques Rivette (Cahiers du cinéma, September 1961) Marienbad was major influence on French New Wave filmmaking strategies, particularly on Rivette. In fact, the seeds of a style that we have come to think of as definitively Rivettian are seen germinating in that director's questions, analysis and dubiousness about Resnais's declarations in segments from the interview reprinted below.
The co-authors begin the piece by describing Marienbad as "a 'sealed' work, without detail" and then go on, as their logic follows, to immediately question Resnais about the game played throughout the movie by the two leading men, which is a motif, an obsession and a linchpin.
***
Alain Resnais: It was the game of Nim, of which...
The co-authors begin the piece by describing Marienbad as "a 'sealed' work, without detail" and then go on, as their logic follows, to immediately question Resnais about the game played throughout the movie by the two leading men, which is a motif, an obsession and a linchpin.
***
Alain Resnais: It was the game of Nim, of which...
- 7/30/2010
- MUBI
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