“The Future Is Now”
By Raymond Benson
If you’re familiar with the work of that French New Wave revolutionary, Jean-Luc Godard, you may not think that he was the type of filmmaker who would make a science fiction film. He did, though, in 1965, and he merged the genre with that of film noir to create a unique hybrid that also contains many of the jarring stylistic elements with which Godard loves to bombard his audiences.
Godard was the “bad boy” of the French New Wave. He seemed to take pleasure in angering viewers and being controversial by choice. That said, though, there is much in Godard’s canon that can be not only shocking and challenging, but truly wonderful.
Such is the case with Alphaville.
Western audiences may not be familiar with the character of Lemmy Caution. He’s a private investigator of the Philip Marlowe/Sam Spade type,...
By Raymond Benson
If you’re familiar with the work of that French New Wave revolutionary, Jean-Luc Godard, you may not think that he was the type of filmmaker who would make a science fiction film. He did, though, in 1965, and he merged the genre with that of film noir to create a unique hybrid that also contains many of the jarring stylistic elements with which Godard loves to bombard his audiences.
Godard was the “bad boy” of the French New Wave. He seemed to take pleasure in angering viewers and being controversial by choice. That said, though, there is much in Godard’s canon that can be not only shocking and challenging, but truly wonderful.
Such is the case with Alphaville.
Western audiences may not be familiar with the character of Lemmy Caution. He’s a private investigator of the Philip Marlowe/Sam Spade type,...
- 8/13/2019
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
65 filmmaker teams from around the world will pitch to international and UK decision makers.
Sheffield Doc/Fest (June 7-12) has revealed the titles that will pitch for funding at the 14th edition of its MeetMarket initiative.
A total of 65 filmmaker teams from 20 countries will pitch to international and UK decision makers for research, development and production funding. Around 300 decision makers from 20 countries are expected with execs from YouTube, ESPN, Starz and The Financial Times.
At the Alternate Realities Market, which includes digital titles, a further 25 Vr and interactive projects will pitch in one-to-one meetings to a range of specialist decision makers.
Sheffield Doc/Fest (June 7-12) has revealed the titles that will pitch for funding at the 14th edition of its MeetMarket initiative.
A total of 65 filmmaker teams from 20 countries will pitch to international and UK decision makers for research, development and production funding. Around 300 decision makers from 20 countries are expected with execs from YouTube, ESPN, Starz and The Financial Times.
At the Alternate Realities Market, which includes digital titles, a further 25 Vr and interactive projects will pitch in one-to-one meetings to a range of specialist decision makers.
- 4/24/2018
- by Orlando Parfitt
- ScreenDaily
The inimitable Terence Davies gets his first Criterion treatment this month with his 1992 title, The Long Day Closes, a superb memory poem drenched in melancholy nostalgia. A follow-up to the much more dark and brutal Distant Voices, Still Lives (1988), Davies returns once more to the memoirs of a ravaged childhood, further expanded upon from his first three short films which comprised The Terence Davies Trilogy (1976-1984). Swimming freely between quiet fantasy sequences and recollections of free associations as we drift in and out of abandoned ramshackle buildings of the past like a restless spirit, there is a delicate and fragile longing in Davies’ second feature, a ruminative exploration absent from the pained dirge of his previous film.
Bud (Leigh McCormack) is a bright and lonely 11 year old boy growing up in 1950’s Liverpool. Absent a father figure, Bud spends most of his time at home with his mother (Marjorie Yates...
Bud (Leigh McCormack) is a bright and lonely 11 year old boy growing up in 1950’s Liverpool. Absent a father figure, Bud spends most of his time at home with his mother (Marjorie Yates...
- 1/28/2014
- by Nicholas Bell
- IONCINEMA.com
Technology, collaboration and the rewards of spontaneous thinking — hackathons harness all three in events that are equal parts meet-up and late-night college term-paper deadline marathon. These multi-day crash sessions are popular in the tech world, gathering strategists, designers and developers to produce everything from fleshed-out concepts to fully designed apps. But does the hackathon format have anything to offer film? Can the problems of independent film — challenges of audience-building, discovery, and monetization — find their solutions in such accelerated brainstorming?
Bond Influence and Strategy sought to find out this past weekend with Hacking Film, New York’s first film-centric hackathon. Participants gathered Saturday morning at The Apartment on Crosby Street, assembled themselves into teams, and then, on Sunday afternoon, presented their projects to judges and a small audience. Reps from various tech companies — GoWatchIt, Mashery, etc. — were there at the start to discuss the capabilities of their APIs. The teams were then charged,...
Bond Influence and Strategy sought to find out this past weekend with Hacking Film, New York’s first film-centric hackathon. Participants gathered Saturday morning at The Apartment on Crosby Street, assembled themselves into teams, and then, on Sunday afternoon, presented their projects to judges and a small audience. Reps from various tech companies — GoWatchIt, Mashery, etc. — were there at the start to discuss the capabilities of their APIs. The teams were then charged,...
- 10/17/2012
- by Scott Macaulay
- Filmmaker Magazine - Blog
Optimum continues its mission to release some of the best back catalogue classics on Blu-ray in September with another burst of titles from their Studio Canal Collection. Next up are The Third Man, Delicatessen, Mulholland Drive, The Graduate, Le Cercle Rouge, The Pianist and Breathless. It's a hugely eclectic collection of superb modern and not-so-modern cinema with surely something for anyone who possesses even a hint of filmic discernment.
All include a host of exclusive extras, with input from some serious names from both industry and academic circles which put those filler heavy packages to shame. And, if previous releases from the label are anything to go by, the transfers will be top notch too.
The titles above are released on 13th September 2010 through Optimum Home Entertainment.
Extras and tech specs are as follows - there's a lot, so take a deep breath:
The Third Man
Extras:
Sd, New or...
All include a host of exclusive extras, with input from some serious names from both industry and academic circles which put those filler heavy packages to shame. And, if previous releases from the label are anything to go by, the transfers will be top notch too.
The titles above are released on 13th September 2010 through Optimum Home Entertainment.
Extras and tech specs are as follows - there's a lot, so take a deep breath:
The Third Man
Extras:
Sd, New or...
- 8/24/2010
- Screen Anarchy
Congratulations to Jamie Ellis, Christine Russell and Tim Newsome - a set is on its way to each you!
As the hi-def assault gathers momentum, Optimum Home Entertainment are releasing some bona fide classics on Blu-ray via The Studio Canal Collection. Revisiting Studio Canal's back catalogue, the 15th Feb sees a wonderfully eclectic trio released exclusively on Blu-ray for the first time. What's more, Optimum have 3 sets to give away for lucky Twitch readers in the UK.
First up is The Go-Between, based on LP Hartley's novel of the same name, starring Julie Christie, Edward Fox and Alan Bates in a magnificently English period drama, of lusty Victorians and adolescent confusion. This was probably the first film that gave me faith in movies being able to interpret novels successfully, having read the book at school and subsequently dug out the film. An in-her-prime Christie probably helped too...
Next is...
As the hi-def assault gathers momentum, Optimum Home Entertainment are releasing some bona fide classics on Blu-ray via The Studio Canal Collection. Revisiting Studio Canal's back catalogue, the 15th Feb sees a wonderfully eclectic trio released exclusively on Blu-ray for the first time. What's more, Optimum have 3 sets to give away for lucky Twitch readers in the UK.
First up is The Go-Between, based on LP Hartley's novel of the same name, starring Julie Christie, Edward Fox and Alan Bates in a magnificently English period drama, of lusty Victorians and adolescent confusion. This was probably the first film that gave me faith in movies being able to interpret novels successfully, having read the book at school and subsequently dug out the film. An in-her-prime Christie probably helped too...
Next is...
- 2/21/2010
- Screen Anarchy
"A chic tragedy recasting the archetypical fallen angel as modern woman (or is that vice versa?), Jean-Luc Godard's fourth film is a heartfelt, headstrong attempt to push his own concept of a deconstructed cinema even further into the stratosphere." David Fear in Time Out New York on today's feature in the Recyclage de luxe Online Film Festival: "Most of the ingredients of his early period are present: pulp-fiction posturing, quotes from poets and philosophers, puckish formal innovations. The manner in which these elements are presented, however, is the first step toward the cohesive blend of intellectual savviness and emotional resonance Godard would perfect down the road. Though this story of a gamine gone bad is subtitled A Film in 12 Chapters (it's subdivided into as many sections), the director could have substituted A Revolution in Miniature and still captured the essence of his experimental melodrama."
"Star Anna Karina was in...
- 12/19/2009
- MUBI
By Michael Atkinson
Roberto Rossellini has never been the most accessible of cinema culture demigods -- his neo-realist trilogy seems more influential than timeless these days, and his Ingrid Bergman films often feel offhand and crude. In 1962, as critic Colin McCabe recounts in his essay for Criterion's release of "The Taking of Power by Louis Xiv" (1966), Rossellini renounced cinema per se, and promised he would from then on make only historical films for television. It's these films, in a string that lasted 13 years, that are the hardest to see and the most frustrating; the filmmaker's perspective grew more inhospitable and pedagogic the more he saw postwar culture slide into amnesiac self-indulgence. But, ironically, this irascibility resulted in a kind of stringency Rossellini never had before; "Louis Xiv" may be the least deliberately "passionate" film ever made by an Italian, perhaps partially because it is French.
There's no underselling the movie's...
Roberto Rossellini has never been the most accessible of cinema culture demigods -- his neo-realist trilogy seems more influential than timeless these days, and his Ingrid Bergman films often feel offhand and crude. In 1962, as critic Colin McCabe recounts in his essay for Criterion's release of "The Taking of Power by Louis Xiv" (1966), Rossellini renounced cinema per se, and promised he would from then on make only historical films for television. It's these films, in a string that lasted 13 years, that are the hardest to see and the most frustrating; the filmmaker's perspective grew more inhospitable and pedagogic the more he saw postwar culture slide into amnesiac self-indulgence. But, ironically, this irascibility resulted in a kind of stringency Rossellini never had before; "Louis Xiv" may be the least deliberately "passionate" film ever made by an Italian, perhaps partially because it is French.
There's no underselling the movie's...
- 1/20/2009
- by Michael Atkinson
- ifc.com
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