Cinema Plus has secured theatrical rights in Australia and New Zealand to Alena Lodkina’s drama “Petrol.” Scheduled for release in March 2023, it has just vowed in main competition at the Marrakech Film Festival following its Locarno world premiere in August.
“Petrol” is produced by Kate Laurie, who has already collaborated with Lodkina on her first feature “Strange Colours” and short “There Is No Such Thing as a Jellyfish.” It was funded by Screen Australia, VicScreen, the Melbourne International Film Festival Premiere Fund, Sbs and Orange Entertainment, with Alief on board as its international sales agent.
The film – set in Melbourne, where the helmer has lived for the last 10 years – mirrors Lodkina’s own story. Just like her protagonist, Eva, she was born to Russian parents. But it soon takes a detour into a more mysterious territory when Eva befriends Mia: a performance artist haunted by the ghosts of the past.
“Petrol” is produced by Kate Laurie, who has already collaborated with Lodkina on her first feature “Strange Colours” and short “There Is No Such Thing as a Jellyfish.” It was funded by Screen Australia, VicScreen, the Melbourne International Film Festival Premiere Fund, Sbs and Orange Entertainment, with Alief on board as its international sales agent.
The film – set in Melbourne, where the helmer has lived for the last 10 years – mirrors Lodkina’s own story. Just like her protagonist, Eva, she was born to Russian parents. But it soon takes a detour into a more mysterious territory when Eva befriends Mia: a performance artist haunted by the ghosts of the past.
- 11/16/2022
- by Marta Balaga
- Variety Film + TV
A woman sits on a park bench, reading from an enormous orange book. On its cover we can just make out the word “Magic.” The woman draws vaguely-occultish diagrams in the sand with her shoe—or perhaps she is just doodling. After a few moments, a loudly-dressed woman stumbles past her, dropping things—various small accessories, a doll—as she goes. The first woman tries to bring her attention to these missing items and then, failing to get her attention, sets off in pursuit. From the first woman’s strange hesitations and sudden decelerations, and the second woman’s occasional backward glances, we soon realize that there is a playful or ritual quality to their pursuit. Are we watching a kind of roleplay between friends or lovers? An extended and rather eccentric meet-cute? Two characters behaving, or two actors acting? The chase takes both women out of the park, up a long set of stairs,...
- 7/26/2021
- MUBI
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If shelf space were unlimited, you’d find the walls of many a cinephile’s living room absolutely stacked floor to ceiling with Criterion Collection Blu-rays. Allow us to indulge your itch to add to your personal film collection with this list of some of the biggest and best upcoming Criterion Collection releases, including a massive box set of Wong Kar Wai’s films, plus new Blu-ray releases of some favorites.
“World of Wong Kar Wai”
Release Date: March 23
Buy: World of Wong Kar Wai $199.95 $159.99 Buy it
First things first: There’s plenty to admire in this collector’s set of the director’s films, which includes new 4K digital restorations of “Chungking Express,...
If shelf space were unlimited, you’d find the walls of many a cinephile’s living room absolutely stacked floor to ceiling with Criterion Collection Blu-rays. Allow us to indulge your itch to add to your personal film collection with this list of some of the biggest and best upcoming Criterion Collection releases, including a massive box set of Wong Kar Wai’s films, plus new Blu-ray releases of some favorites.
“World of Wong Kar Wai”
Release Date: March 23
Buy: World of Wong Kar Wai $199.95 $159.99 Buy it
First things first: There’s plenty to admire in this collector’s set of the director’s films, which includes new 4K digital restorations of “Chungking Express,...
- 2/24/2021
- by Jean Bentley
- Indiewire
The Criterion Collection’s March 2020 lineup has been unveiled, and it’s an epic one. Along with their previously announced Wong Kar Wai box set, they will also release Jacques Rivette’s masterpiece Céline and Julie Go Boating, which was long unavailable in good quality and recently debuted on The Criterion Channel.
Also arriving in March is Mike Leigh’s Palme d’Or winner Secrets & Lies, Albert Brooks’ Defending Your Life (with a new essay by Ari Aster), and, getting a solo release after its inclusion in a World Cinema Project box set, Djibril Diop Mambéty’s Touki Bouki, which we discussed on The Film Stage Show below.
Check out the lineup and special features below, with more details on their official site.
New 2K digital restoration, with uncompressed monaural soundtrack on the Blu-rayAudio commentary from 2017 featuring critic Adrian MartinJacques Rivette: Le veilleur, a 1994 two-part feature documentary by Claire Denis,...
Also arriving in March is Mike Leigh’s Palme d’Or winner Secrets & Lies, Albert Brooks’ Defending Your Life (with a new essay by Ari Aster), and, getting a solo release after its inclusion in a World Cinema Project box set, Djibril Diop Mambéty’s Touki Bouki, which we discussed on The Film Stage Show below.
Check out the lineup and special features below, with more details on their official site.
New 2K digital restoration, with uncompressed monaural soundtrack on the Blu-rayAudio commentary from 2017 featuring critic Adrian MartinJacques Rivette: Le veilleur, a 1994 two-part feature documentary by Claire Denis,...
- 12/16/2020
- by Jordan Raup
- The Film Stage
This article accompanies the Film Society of Lincoln Center’s dual retrospective of the films of Jacques Rivette and David Lynch and is part of an ongoing review of Rivette’s films for the Notebook, in light of several major re-releases of his work.“I’m going to the movies!” — Pauline Kael In Céline and Julie Go Boating Jacques Rivette takes the stuff of living—quite literally documentary shots of Paris in summertime 1973—and makes it a kind of mock-backdrop to a world of psychedelic fiction. The opening scene, built from criss-crossing point-of-view shots, takes routine images of parkgoers milling around on a warm day and whips them into a particular perspective, that of curious, cooing librarian Julie (Dominique Labourier), who sedately watches the goings-on while leafing through her book of magic. In documenting Julie’s subsequent pursual of Juliet Berto’s ragtag Céline, an impulse-effort to return shedded belongings...
- 12/30/2015
- by Christopher Small
- MUBI
Argentinian director whose films drew heavily on the stories of Jorge Luis Borges
Although the Argentinian director and screenwriter Eduardo de Gregorio, who has died aged 70, had lived in Paris since 1970, his work was always identifiably South American. This can be attributed to the overpowering influence of the labyrinthine stories of Jorge Luis Borges on a generation of South American artists.
De Gregorio brought this Borgesian aura to bear on the five features he directed, and on the screenplays he wrote with Jacques Rivette and Bernardo Bertolucci. In fact, for the latter's The Spider's Stratagem (1970), De Gregorio adapted the Borges story Theme of the Traitor and the Hero, smoothly transposing it from Ireland to Italy. It was an elaborate piece of Oedipal plotting in which, revisiting the village in the Po valley where his father was murdered in 1936, a young man discovers that his father was not a hero, but a traitor.
Although the Argentinian director and screenwriter Eduardo de Gregorio, who has died aged 70, had lived in Paris since 1970, his work was always identifiably South American. This can be attributed to the overpowering influence of the labyrinthine stories of Jorge Luis Borges on a generation of South American artists.
De Gregorio brought this Borgesian aura to bear on the five features he directed, and on the screenplays he wrote with Jacques Rivette and Bernardo Bertolucci. In fact, for the latter's The Spider's Stratagem (1970), De Gregorio adapted the Borges story Theme of the Traitor and the Hero, smoothly transposing it from Ireland to Italy. It was an elaborate piece of Oedipal plotting in which, revisiting the village in the Po valley where his father was murdered in 1936, a young man discovers that his father was not a hero, but a traitor.
- 10/19/2012
- by Ronald Bergan
- The Guardian - Film News
Le Point and L'Express are among the French news outlets reporting that Marie-France Pisier has died at her home in Saint Cyr sur Mer at the age of 66. First mention is generally going to her work with François Truffaut; her debut, after all, was in his Antoine and Colette, a short film that was part of the 1962 anthology Love at Twenty and she would reprise the role in Stolen Kisses (1968) and Love on the Run (1979). The film many will be thinking of today, though, is Jacques Rivette's Céline and Julie Go Boating (1974). In 1981, Julia Lesage described her role in the film's development: "Script credit is given to Juliet Berto, Dominique Labourier, Bulle Ogier, Marie-France Pisier, and Jacques Rivette…. According to Berto, she and Labourier imagined creating a combination of Persona and What Ever Happened To Baby Jane? in a film with two female protagonists. Berto said, 'Each...
- 4/26/2011
- MUBI
The new wave 40 years early. The soft side of Jean-Pierre Melville. Nicole Kidman makes the unmakeable. Somewhere out there is an alternative history of film – David Thomson unearths 10 lost works of genius
Erotikon (1920)
Forget 1920, this is an absolutely modern comedy about romance and sex, directed in Sweden by Mauritz Stiller. We should remember that when MGM brought Greta Garbo from Sweden in the mid-20s, she was almost baggage in the deal that hired Stiller, one of the sharpest and most sophisticated of silent directors, but a man who would be crushed by Hollywood. Stiller needs to be recovered (like his contemporary, Victor Sjöström), and Erotikon has an instinct for attraction and infidelity that simply couldn't be permitted in American films of the same period. It's also marvellous to see that, nearly 100 years ago, Swedish cinema was in love with its country's cool light and with actresses as warm but ambiguous as Tora Teje,...
Erotikon (1920)
Forget 1920, this is an absolutely modern comedy about romance and sex, directed in Sweden by Mauritz Stiller. We should remember that when MGM brought Greta Garbo from Sweden in the mid-20s, she was almost baggage in the deal that hired Stiller, one of the sharpest and most sophisticated of silent directors, but a man who would be crushed by Hollywood. Stiller needs to be recovered (like his contemporary, Victor Sjöström), and Erotikon has an instinct for attraction and infidelity that simply couldn't be permitted in American films of the same period. It's also marvellous to see that, nearly 100 years ago, Swedish cinema was in love with its country's cool light and with actresses as warm but ambiguous as Tora Teje,...
- 8/19/2010
- by David Thomson
- The Guardian - Film News
Gentlemen Prefer Blondes (1953) isn't my favorite Howard Hawks film, musical, Marilyn Monroe picture, or use of Technicolor, but watching it again in a frighteningly flawless new restored print for a run opening this Friday New York's Film Forum, I happily realized there was something I really loved about this movie that so-often left me cold: a truly swimming picture of friendship. With constant reminders that the buddy cop genre in the 1980s and the conversational, sitcom-style sidekick of 90s romantic comedies have mostly blandly evolved friendship into a "bro"-like and/or snarky camaraderie in the 2000s, one seems hard pressed these days for shining examples of pure cinematic friendship, different personalities, characters, ideologies, beauties in a teetering equilibrium of assistance, support, and true affection, as Jane Russell and Marilyn Monroe are in this picture. Suddenly it made so much sense to me that Jacques Rivette modeled the relationship between...
- 8/2/2010
- MUBI
(Rivette, 1974) I saw David Lynch's Inland Empire, on release, with a good friend and fellow fan one rainy night at the Ritzy in Brixton, South London. We had dodged the reviews and the hype and those ugly screen shots of Laura Dern's grimaced face and made it through all 180 chaotic, muddled minutes... only to be totally devastated. We hated it. What had we missed? After all, Lynch had already attacked the darker realms of Tinsel town once before in the dark wonderland of Mullholland Drive. Why was he retreading his own path? I admired some of the ideas, I respected the free thinking way Lynch conceived and wrote the film day by day, on set, allowing actors and to be involved, I thought some of the moments in it were very powerful and that the dirty Dv shooting worked to highlight the "its only skin deep" beauty of film.
- 7/8/2009
- by Neil Innes
- t5m.com
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