Close-Up is a feature that spotlights films now playing on Mubi. Andrzej Żuławski's The Most Important Thing: Love (1975) is showing November 22 - December 22, 2017 in the United States.The DevilKiedy wszedłeś między wrony, musisz krakać jak i one.
(‘When among the crows, caw as they do.’)—Polish sayingAndrzej Żuławski’s That Most Important Thing: Love (1975) is unlike any film he ever made, and was certainly a departure in his visual sensibility relative to the feature films he had made previously in his native Poland: The Third Part of the Night (1971) and The Devil (1972). Narratively and visually, the film is at once an oddity and a turning point in Żuławski’s oeuvre, and in viewing it, it would benefit the viewer to understand the director’s experience with the French cinematic tradition and its effect on his own cinema.Żuławski was born into a well-known family of artists that spanned several generations in Poland,...
(‘When among the crows, caw as they do.’)—Polish sayingAndrzej Żuławski’s That Most Important Thing: Love (1975) is unlike any film he ever made, and was certainly a departure in his visual sensibility relative to the feature films he had made previously in his native Poland: The Third Part of the Night (1971) and The Devil (1972). Narratively and visually, the film is at once an oddity and a turning point in Żuławski’s oeuvre, and in viewing it, it would benefit the viewer to understand the director’s experience with the French cinematic tradition and its effect on his own cinema.Żuławski was born into a well-known family of artists that spanned several generations in Poland,...
- 12/1/2017
- MUBI
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
Above: Das Magische Band.
For the 50th anniversary of the signing of the Oberhausen Manifesto, the International Short Film Festival Oberhausen seems to have deployed an expected reminder and canonization: a retrospective. But the reality is far from this conventionality. Instead, the festival has activated a series, sequence and near-simultaneity of films programmed by Ralph Eue and Olaf Möller called Mavericks, Mouvements, Manifestos that form a complex, varied and nuanced international constellation of absolutely necessary, engaged and reactive short films from the 1950s-1960s. It is not a look back, as most retrospectives inevitably are, but a bracing engagement with a reality, both historic and contemporary, that proves to be still absolutely crucial to our understanding of the world and its cinema.
The opening ceremony of the festival capped an endless series of introductions—which included an unexpected but moving reminder of and plea about the economic ghettoization of cultural...
For the 50th anniversary of the signing of the Oberhausen Manifesto, the International Short Film Festival Oberhausen seems to have deployed an expected reminder and canonization: a retrospective. But the reality is far from this conventionality. Instead, the festival has activated a series, sequence and near-simultaneity of films programmed by Ralph Eue and Olaf Möller called Mavericks, Mouvements, Manifestos that form a complex, varied and nuanced international constellation of absolutely necessary, engaged and reactive short films from the 1950s-1960s. It is not a look back, as most retrospectives inevitably are, but a bracing engagement with a reality, both historic and contemporary, that proves to be still absolutely crucial to our understanding of the world and its cinema.
The opening ceremony of the festival capped an endless series of introductions—which included an unexpected but moving reminder of and plea about the economic ghettoization of cultural...
- 5/9/2012
- MUBI
Second #5123, 85:23
Knife blade at his throat, Jeffrey is silent. Has he already decided that he’ll kill Frank? Something in his face has changed. He has the weary look of someone who knows how the game will end.
In one of the first great books of modern film theory, The Aesthetics and Psychology of the Cinema (1963-65), Jean Mitry traced the gradual emergence of cinema’s ability to use shots and camera movement not merely to convey narrative information but also to convey a point of view that implies some level of judgment about characters in question:
Liberated from the need to be descriptive, shots [in the 1920s] became language. In a way, they became the filmmaker’s ‘judgment’ of his characters. Thus analysis stole a march on narrative while reinforcing the camera’s ‘ability to be everywhere at once.’
In this sense, a film shot is never “just” a shot; it...
Knife blade at his throat, Jeffrey is silent. Has he already decided that he’ll kill Frank? Something in his face has changed. He has the weary look of someone who knows how the game will end.
In one of the first great books of modern film theory, The Aesthetics and Psychology of the Cinema (1963-65), Jean Mitry traced the gradual emergence of cinema’s ability to use shots and camera movement not merely to convey narrative information but also to convey a point of view that implies some level of judgment about characters in question:
Liberated from the need to be descriptive, shots [in the 1920s] became language. In a way, they became the filmmaker’s ‘judgment’ of his characters. Thus analysis stole a march on narrative while reinforcing the camera’s ‘ability to be everywhere at once.’
In this sense, a film shot is never “just” a shot; it...
- 5/2/2012
- by Nicholas Rombes
- Filmmaker Magazine - Blog
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