Cinephiles will have plenty to celebrate this April with the next slate of additions to the Criterion Channel. The boutique distributor, which recently announced its June 2024 Blu-ray releases, has unveiled its new streaming lineup highlighted by an eclectic mix of classic films and modern arthouse hits.
Students of Hollywood history will be treated to the “Peak Noir: 1950” collection, which features 17 noir films from the landmark film year from directors including Billy Wilder, Alfred Hitchcock, and John Huston.
New Hollywood maverick William Friedkin will also be celebrated when five of his most beloved movies, including “Sorcerer” and “The Exorcist,” come to the channel in April.
Criterion will offer the streaming premiere of Wim Wenders’ 3D art documentary “Anselm,” which will be accompanied by the “Wim Wenders’ Adventures in Moviegoing” collection, which sees the director curating a selection of films from around the world that have influenced his careers.
Contemporary cinema is also well represented,...
Students of Hollywood history will be treated to the “Peak Noir: 1950” collection, which features 17 noir films from the landmark film year from directors including Billy Wilder, Alfred Hitchcock, and John Huston.
New Hollywood maverick William Friedkin will also be celebrated when five of his most beloved movies, including “Sorcerer” and “The Exorcist,” come to the channel in April.
Criterion will offer the streaming premiere of Wim Wenders’ 3D art documentary “Anselm,” which will be accompanied by the “Wim Wenders’ Adventures in Moviegoing” collection, which sees the director curating a selection of films from around the world that have influenced his careers.
Contemporary cinema is also well represented,...
- 3/18/2024
- by Christian Zilko
- Indiewire
April’s an uncommonly strong auteurist month for the Criterion Channel, who will highlight a number of directors––many of whom aren’t often grouped together. Just after we screened House of Tolerance at the Roxy Cinema, Criterion are showing it and Nocturama for a two-film Bertrand Bonello retrospective, starting just four days before The Beast opens. Larger and rarer (but just as French) is the complete Jean Eustache series Janus toured last year. Meanwhile, five William Friedkin films and work from Makoto Shinkai, Lizzie Borden, and Rosine Mbakam are given a highlight.
One of my very favorite films, Comrades: Almost a Love Story plays in a series I’ve been trying to program for years: “Hong Kong in New York,” boasting the magnificent Full Moon in New York, Farewell China, and An Autumn’s Tale. Wim Wenders gets his “Adventures in Moviegoing”; After Hours, Personal Shopper, and Werckmeister Harmonies fill...
One of my very favorite films, Comrades: Almost a Love Story plays in a series I’ve been trying to program for years: “Hong Kong in New York,” boasting the magnificent Full Moon in New York, Farewell China, and An Autumn’s Tale. Wim Wenders gets his “Adventures in Moviegoing”; After Hours, Personal Shopper, and Werckmeister Harmonies fill...
- 3/18/2024
- by Nick Newman
- The Film Stage
This article was originally published as "Life Is Nothing But Glances" in the Spring 2021 issue of Trafic. It is being presented here through the generosity of the author, newly retitled at his request, and in a new translation by Ted Fendt. It is preceded by a short note shared by Moullet after the death of Jean-Luc Godard:Godard represents, first of all, a search for novelty, one defined by risk and an openness to the possibility of making mistakes over the course of many experiments (over 100 films). For him, a failed film was not a serious matter.Godard made films against: against the milieu from which he came, against dominant rules, and also against himself and his previous films.Godard’s thinking can only be defined by seeing his films, and not through his statements which are often not worthwhile for what they say but for his desire to provoke.
- 12/2/2022
- MUBI
The 26th edition of the Ji.hlava Intl. Documentary Film Festival will screen 300 films, including a retrospective on American Oscar-winning innovator Shirley Clarke, and what fest organizers describe as the largest-ever retrospective of Filipino cinema outside Asia.
The fest, running Oct. 25-30, will include work on the Russian invasion of Ukraine and a conference on ethics in documentary filmmaking.
Some 95 films are world premieres, 33 are international bows and six are European firsts.
Films include what fest director Marek Hovorka calls one of the earliest known feature-length documentaries, shot in the Philippines in 1913. “Native Life in the Philippines” by Dean C. Worcester will screen alongside 40 other Filipino works spanning a wide variety of genres and formats. Some, including “Advance of Kansas Volunteers at Caloocan,” a U.S. war doc produced by the Edison Manufacturing Co., date back to the American invasion of the islands.
At the other end of the historical spectrum,...
The fest, running Oct. 25-30, will include work on the Russian invasion of Ukraine and a conference on ethics in documentary filmmaking.
Some 95 films are world premieres, 33 are international bows and six are European firsts.
Films include what fest director Marek Hovorka calls one of the earliest known feature-length documentaries, shot in the Philippines in 1913. “Native Life in the Philippines” by Dean C. Worcester will screen alongside 40 other Filipino works spanning a wide variety of genres and formats. Some, including “Advance of Kansas Volunteers at Caloocan,” a U.S. war doc produced by the Edison Manufacturing Co., date back to the American invasion of the islands.
At the other end of the historical spectrum,...
- 10/25/2022
- by Will Tizard
- Variety Film + TV
Festival will explore power relationships in doc filmmaking
The world premiere of Andrea Kleine’s The End Is Not What I Thought It Would Be, is among the international films making their debut at the Ji.hlava International Documentary Film Festival running from October 25-30 in the Czech Republic,
The film features Kleine performing comedy shows to a closed theatre in New York City during the pandemic.
Held in the town of Jihlava in central Czech Republic, the festival has seven competition sections, including Opus Bonum, for documentary films from around the world.
The section will play 16 films of which 13 are feature-length,...
The world premiere of Andrea Kleine’s The End Is Not What I Thought It Would Be, is among the international films making their debut at the Ji.hlava International Documentary Film Festival running from October 25-30 in the Czech Republic,
The film features Kleine performing comedy shows to a closed theatre in New York City during the pandemic.
Held in the town of Jihlava in central Czech Republic, the festival has seven competition sections, including Opus Bonum, for documentary films from around the world.
The section will play 16 films of which 13 are feature-length,...
- 10/12/2022
- by Ben Dalton
- ScreenDaily
NYC Weekend Watch is our weekly round-up of repertory offerings.
IFC Center
A Gaspar Noé retrospective is underway; the new restorations of Inland Empire and Mississippi Masala continue; Eraserhead, The Crow, Re-Animator, and Derek Jarman’s Sebastiane have late-night showings.
Roxy Cinema
Ugetsu and Altered States screen on 35mm this weekend.
Film Forum
A new Nights of Cabiria restoration has started, while the Sidney Poitier retrospective includes films by Ford, Kubrick, and Hitchcock.
Metrograph
A retrospective of nonfiction filmmaker Lionel Rogosin is underway, while novelist Gary Indiana has a selection running down.
Anthology Film Archives
Almost never screened, the films of Friedl Kubelka vom Gröller are given a series, while Laurel & Hardy plays alongside Sunrise in Essential Cinema.
The post NYC Weekend Watch: Gaspar Noé, Ugetsu, Sergeant Rutledge & More first appeared on The Film Stage.
IFC Center
A Gaspar Noé retrospective is underway; the new restorations of Inland Empire and Mississippi Masala continue; Eraserhead, The Crow, Re-Animator, and Derek Jarman’s Sebastiane have late-night showings.
Roxy Cinema
Ugetsu and Altered States screen on 35mm this weekend.
Film Forum
A new Nights of Cabiria restoration has started, while the Sidney Poitier retrospective includes films by Ford, Kubrick, and Hitchcock.
Metrograph
A retrospective of nonfiction filmmaker Lionel Rogosin is underway, while novelist Gary Indiana has a selection running down.
Anthology Film Archives
Almost never screened, the films of Friedl Kubelka vom Gröller are given a series, while Laurel & Hardy plays alongside Sunrise in Essential Cinema.
The post NYC Weekend Watch: Gaspar Noé, Ugetsu, Sergeant Rutledge & More first appeared on The Film Stage.
- 4/22/2022
- by Nick Newman
- The Film Stage
Next month’s Criterion Channel selection is here, and as 2021 winds down further cements their status as our single greatest streaming service. Off the top I took note of their eight-film Jia Zhangke retro as well as the streaming premieres of Center Stage and Malni. And, yes, Margaret has been on HBO Max for a while, but we can hope Criterion Channel’s addition—as part of the 63(!)-film “New York Stories”—opens doors to a more deserving home-video treatment.
Aki Kaurismäki’s Finland Trilogy, Bruno Dumont’s Joan of Arc duology, and Criterion’s editions of Irma Vep and Flowers of Shanghai also mark major inclusions—just a few years ago the thought of Hou’s masterpiece streaming in HD was absurd.
I could implore you not to sleep on The Hottest August and Point Blank and Variety and In the Cut or, look, so many Ernst Lubitsch movies,...
Aki Kaurismäki’s Finland Trilogy, Bruno Dumont’s Joan of Arc duology, and Criterion’s editions of Irma Vep and Flowers of Shanghai also mark major inclusions—just a few years ago the thought of Hou’s masterpiece streaming in HD was absurd.
I could implore you not to sleep on The Hottest August and Point Blank and Variety and In the Cut or, look, so many Ernst Lubitsch movies,...
- 8/25/2021
- by Leonard Pearce
- The Film Stage
Milestone’s library of more than 150 titles includes Portrait Of Jason, Say Amen, Somebody.
Kino Lorber has signed a multi-year strategic distribution and acquisition agreement with Milestone Films, the New York-based company renowned for restoring and distributing classics such as Mikhail Kalatozov’s I Am Cuba.
Under the pact Kino Lorber gets exclusive US and international distribution rights to Milestone’s library of more than 150 titles and all its future restorations and acquisitions under the Milestone Films In Association With Kino Lorber label.
Husband-and-wife partners Dennis Doros and Amy Heller founded Milestone in 1990 and have over the past three decades...
Kino Lorber has signed a multi-year strategic distribution and acquisition agreement with Milestone Films, the New York-based company renowned for restoring and distributing classics such as Mikhail Kalatozov’s I Am Cuba.
Under the pact Kino Lorber gets exclusive US and international distribution rights to Milestone’s library of more than 150 titles and all its future restorations and acquisitions under the Milestone Films In Association With Kino Lorber label.
Husband-and-wife partners Dennis Doros and Amy Heller founded Milestone in 1990 and have over the past three decades...
- 6/2/2021
- by Jeremy Kay
- ScreenDaily
Above: French poster for Chronicle of a Summer (Jean Rouch & Edgar Morin, France, 1961). Design by Raymond Gid.There is an essential and vital film series opening today at Film Forum in New York: a survey of 1960s Cinema Verité productions which brings vividly to life a decade of instability and protest as well as a new era of introspection. While this survey of posters doesn’t give a complete look at the series—“more than 50 modern classics which not only changed the recording of social history, but revolutionized filmmaking itself”—since many of the films are not feature-length (some of the shows pair an hour long film with a 30 minute short) and thus were not theatrically released. But those that I’ve gathered do convey the urgency of the movement as well as its seat-of-the-pants guerrilla style of film marketing as much as film making.I’ve not included the...
- 1/19/2018
- MUBI
In 1983, the Walker Art Center in Minneapolis, Minnesota, along with Media Study/Buffalo, created a touring retrospective of avant-garde films, primarily feature-length ones and a few shorts, which they called “The American New Wave 1958-1967.” To accompany the tour, a hefty catalog was produced that included notes on the films, essays by film historians and critics, writings by major underground film figures and more.
The retrospective was created at a time when financially viable independent filmmaking was on the rise, such as films made by John Sayles, Wayne Wang and Susan Seidelman. According to the co-curators of the retrospective, Melinda Ward and Bruce Jenkins, the objective of the tour was to:
provide a more adequate picture than conventional history affords us of a rare period of American cinematic invention and thereby prepare a coherent critical and historical context for the reception of the new work by the current generation of independent filmmakers.
The retrospective was created at a time when financially viable independent filmmaking was on the rise, such as films made by John Sayles, Wayne Wang and Susan Seidelman. According to the co-curators of the retrospective, Melinda Ward and Bruce Jenkins, the objective of the tour was to:
provide a more adequate picture than conventional history affords us of a rare period of American cinematic invention and thereby prepare a coherent critical and historical context for the reception of the new work by the current generation of independent filmmakers.
- 11/25/2017
- by Mike Everleth
- Underground Film Journal
Milestone wraps up its ‘Project Shirley,’ an in-depth study of the independent director of The Connection and Portrait of Jason. Practically all of Shirley Clarke’s small and experimental films are here from the early 1950s forward, plus a wealth of biographical film.
The Magic Box: The films of Shirley Clarke, 1929-1987
Blu-ray
The Milestone Cinematheque
1929-1987 / B&W + Color
1:37 flat full frame / 502 min.
Street Date November 15, 2016 / 99.99
featuring Shirley Clarke
Produced by Dennis Doros & Amy Heller
Reviewed by Glenn Erickson
Some disc boutique companies license ready-made movie classics for home video, and some slap whatever odd-sourced items can be had into the Blu-ray format and call it a restoration. Although the general tide for quality releases is rising, only a few companies will invest time and effort in historically- and artistically- important films lacking an obvious commercial hook. Milestone Films has been consistent in its championing of abandoned ‘marginal’ films,...
The Magic Box: The films of Shirley Clarke, 1929-1987
Blu-ray
The Milestone Cinematheque
1929-1987 / B&W + Color
1:37 flat full frame / 502 min.
Street Date November 15, 2016 / 99.99
featuring Shirley Clarke
Produced by Dennis Doros & Amy Heller
Reviewed by Glenn Erickson
Some disc boutique companies license ready-made movie classics for home video, and some slap whatever odd-sourced items can be had into the Blu-ray format and call it a restoration. Although the general tide for quality releases is rising, only a few companies will invest time and effort in historically- and artistically- important films lacking an obvious commercial hook. Milestone Films has been consistent in its championing of abandoned ‘marginal’ films,...
- 11/19/2016
- by Glenn Erickson
- Trailers from Hell
Come Back, Africa (1959) Filmed secretly, with a small crew and non-professional actors, this is one of the few South African films that truly captures the life of black civilians under apartheid. After his first feature, On the Bowery (1956), American independent filmmaker Lionel Rogosin traveled to South Africa and spent months getting acquainted with the people. . .With its prescient mixture of documentary and fiction, Come Back, Africa does what no other national film dared to do at that time: it gives voice and a presence to blacks, as it tenderly portrays their thoughts, feelings, and culture. >> -Cristina Álvarez López...
- 8/30/2015
- Fandor: Keyframe
Come Back, Africa (1959) Filmed secretly, with a small crew and non-professional actors, this is one of the few South African films that truly captures the life of black civilians under apartheid. After his first feature, On the Bowery (1956), American independent filmmaker Lionel Rogosin traveled to South Africa and spent months getting acquainted with the people. . .With its prescient mixture of documentary and fiction, Come Back, Africa does what no other national film dared to do at that time: it gives voice and a presence to blacks, as it tenderly portrays their thoughts, feelings, and culture. >> -Cristina Álvarez López...
- 8/30/2015
- Keyframe
Festival will also see director Rowan Joffe and novelist Sj Watson present Before I Go To Sleep, starring Nicole Kidman, Colin Firth and Mark Strong.
The 34th edition of the Cambridge Film Festival (Aug 28 - Sept 7) is to open with The Kidnapping Of Michel Houellebecq, Guillaume Nicloux’s comedy-drama based in part on true events.
It recounts the disapperance of reclusive French novelist Michel Houellebecq during a book tour in 2011. The rumours of his whereabouts led to endless speculation, including a kidnapping. The film, which stars the novelist as himself, will be presented at the festival by Nicloux.
Special guests at this year’s festival include writer-director Rowan Joffe and novelist Sj Watson who will present Before I Go To Sleep, an amnesiac thriller starring Nicole Kidman, Colin Firth and Mark Strong.
Skip Kite will present his timely tribute to late politican Tony Benn: Will and Testament, while Andrew Sinclair, director of 1972’s...
The 34th edition of the Cambridge Film Festival (Aug 28 - Sept 7) is to open with The Kidnapping Of Michel Houellebecq, Guillaume Nicloux’s comedy-drama based in part on true events.
It recounts the disapperance of reclusive French novelist Michel Houellebecq during a book tour in 2011. The rumours of his whereabouts led to endless speculation, including a kidnapping. The film, which stars the novelist as himself, will be presented at the festival by Nicloux.
Special guests at this year’s festival include writer-director Rowan Joffe and novelist Sj Watson who will present Before I Go To Sleep, an amnesiac thriller starring Nicole Kidman, Colin Firth and Mark Strong.
Skip Kite will present his timely tribute to late politican Tony Benn: Will and Testament, while Andrew Sinclair, director of 1972’s...
- 8/7/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
I was a sceptic; I thought it could not be done. I did not believe that London could host such an important global event, let alone pull it off with such grandiose confidence. But now the Olympics are over and to be honest, I don’t want it to end. Particularly considering my last images may be that of Jessie J ruining Queen, or Liam Gallagher proving he needs Noel. But with Britain standing 3rd in the medal rankings, we can be proud of our athletes’ efforts. Whether it was handball, hockey or dressage, my eyes were opened to the magic of the Olympics and I’m sad to see them go. So why not cling on for a little bit longer and join me as I attempt to blur the realms of Film and the Summer Olympics.
Hopefully you read part 1 where I chose films that represented: North Korea,...
Hopefully you read part 1 where I chose films that represented: North Korea,...
- 8/17/2012
- by Dan Lewis
- Obsessed with Film
For the tenth edition of Film Art: An Introduction, David Bordwell and Kristin Thompson are partnering with Criterion to present Connect Film, an hour-long set of twenty videos on various aspects of filmmaking addressed in the now-classic textbook. Above: "Elliptical Editing in Vagabond (1985)." Kristin Thompson: "Most of the other Connect examples illustrate the chapters on the four types of film technique: mise-en-scene, cinematography, editing, and sound. There's also a short documentary about digital animation."
More books. You may remember that Dave Kehr is quite an admirer of the writing of Arlene Croce, a dance critic for the New Yorker from 1973 to 1998. She's also the author of The Fred Astaire & Ginger Rogers Book and, in the new issue of the New York Review of Books, she reviews Todd Decker's Music Makes Me: Fred Astaire and Jazz and Kathleen Riley's The Astaires: Fred and Adele. As the Boston Globe's Mark Feeney writes,...
More books. You may remember that Dave Kehr is quite an admirer of the writing of Arlene Croce, a dance critic for the New Yorker from 1973 to 1998. She's also the author of The Fred Astaire & Ginger Rogers Book and, in the new issue of the New York Review of Books, she reviews Todd Decker's Music Makes Me: Fred Astaire and Jazz and Kathleen Riley's The Astaires: Fred and Adele. As the Boston Globe's Mark Feeney writes,...
- 3/19/2012
- MUBI
You have to be 18 or older to see You Killed Me First, which, according to the Kw Institute of Contemporary Art, is the first exhibition on the Cinema of Transgression. There'll be a talk with Nick Zedd on Tuesday evening, followed by another with Richard Kern on Wednesday. The exhibition's opened this weekend and will be on view through April 9.
Also in Berlin, and starting tomorrow, the Arsenal will be screening a selection of titles from the Forum program at this year's just-wrapped Berlinale. Eleven films over eleven evenings, beginning with the three films by Yuzo Kawashima, The Sun in the Last Days of the Shogunate (1957), Suzaki Paradise: Red Light (1956) and Between Yesterday and Tomorrow (1954), and ending with the two restorations of films by Shirley Clarke, Ornette: Made in America (1984) and The Connection (1961).
Next week, the Arsenal wraps its series of films by Ulrike Ottinger by screening her Berlin Trilogy...
Also in Berlin, and starting tomorrow, the Arsenal will be screening a selection of titles from the Forum program at this year's just-wrapped Berlinale. Eleven films over eleven evenings, beginning with the three films by Yuzo Kawashima, The Sun in the Last Days of the Shogunate (1957), Suzaki Paradise: Red Light (1956) and Between Yesterday and Tomorrow (1954), and ending with the two restorations of films by Shirley Clarke, Ornette: Made in America (1984) and The Connection (1961).
Next week, the Arsenal wraps its series of films by Ulrike Ottinger by screening her Berlin Trilogy...
- 2/19/2012
- MUBI
New feature that I tried out last week and which I plan on continuing into the future: Check Bad Lit: The Journal of Underground Film’s Facebook page tomorrow (Monday) to see which link got the most clicks.
The L.A. Times published an in-depth profile of filmmaker Nicholas McCarthy about his struggles in trying to get a feature film going. A coda that happened post article publication: McCarthy’s The Pact just got picked up for distribution by IFC Midnight after a few successful Sundance screenings. I remember reviewing the short film version of The Pact about a year ago…Speaking of Sundance, if you want an awesome “boots on the ground” report on what attending the festival is actually like, you have to scroll through donna k.’s tons of film reviews and photo posts about her adventures there. I’ve avoided all other Sundance coverage except hers.
The L.A. Times published an in-depth profile of filmmaker Nicholas McCarthy about his struggles in trying to get a feature film going. A coda that happened post article publication: McCarthy’s The Pact just got picked up for distribution by IFC Midnight after a few successful Sundance screenings. I remember reviewing the short film version of The Pact about a year ago…Speaking of Sundance, if you want an awesome “boots on the ground” report on what attending the festival is actually like, you have to scroll through donna k.’s tons of film reviews and photo posts about her adventures there. I’ve avoided all other Sundance coverage except hers.
- 1/29/2012
- by Mike Everleth
- Underground Film Journal
"The miracle of Lionel Rogosin's apartheid drama Come Back, Africa isn't that it's a solid, affecting artifact of a cruel society, but that it exists at all," begins Bill Weber in Slant. "In the wake of his debut film, the New York skid-row chronicle On the Bowery, Rogosin set out in 1957 for Johannesburg, and for months laid the groundwork for surreptitiously shooting a follow-up that would lay bare the pain and humiliations of black South Africans subjugated by the white majority, enlisting native writers Lewis Nkosi and Bloke Modisane to collaborate on the scenario. Mixing documentary-like footage with scripted scenes as he had in his first feature, the filmmaker heavily features music and dance by throngs of street performers, a diegetically captured salve for the wounds of extreme poverty and social oppression — and an ideal camouflage of his critical agenda from the South African authorities, who were persuaded that...
- 1/26/2012
- MUBI
by Vadim Rizov
Come Back, Africa's primary intent is explicitly polemical: to depict apartheid in action and show the world what it was condoning through inaction. After premiering at the 1959 Venice Film Festival, director Lionel Rogosin couldn't find a distributor and opened his own theater in New York* in 1960. By the time the film opened there, the Sharpeville massacre—in which South African police opened fire on a crowd and killed 69 Africans—had taken place, so his message came through amplified.
When evaluating revivals of socially important documents, a standard critical fallback is "flawed but powerful," a grudging assessment inadvertently implying worthy intentions trump bad filmmaking; such caveats don't help anyone and wouldn't get at what makes Come Back, Africa interesting. A few years ago, Film Forum's revival of Rogosin's 1954 On the Bowery unexpectedly drew sell-out crowds eager to soak up his non-judgmental, flavorful portrait of the long-gone bars and bums of Bowery St.
Come Back, Africa's primary intent is explicitly polemical: to depict apartheid in action and show the world what it was condoning through inaction. After premiering at the 1959 Venice Film Festival, director Lionel Rogosin couldn't find a distributor and opened his own theater in New York* in 1960. By the time the film opened there, the Sharpeville massacre—in which South African police opened fire on a crowd and killed 69 Africans—had taken place, so his message came through amplified.
When evaluating revivals of socially important documents, a standard critical fallback is "flawed but powerful," a grudging assessment inadvertently implying worthy intentions trump bad filmmaking; such caveats don't help anyone and wouldn't get at what makes Come Back, Africa interesting. A few years ago, Film Forum's revival of Rogosin's 1954 On the Bowery unexpectedly drew sell-out crowds eager to soak up his non-judgmental, flavorful portrait of the long-gone bars and bums of Bowery St.
- 1/24/2012
- GreenCine Daily
Rediscover Lionel Rogosin's 1959 anti-apartheid masterpiece (which screened at Tff 2005) at Film Forum starting January 27. Miriam Makeba (Miriam) in the film Come Back, Africa. Behind Ms. Makeba from left to right: Morris Hugh, Zacharia Mgabi and Can Themba / courtesy Milestone Film and Video 'In South Africa when this film was made, you could not be buried in a cemetery unless you had the right papers. You could not live in a certain part of the city unless you had the right color. And you could not sleep with another person unless you were the same color. And it is that particular history that Lionel captured and it is a monument. Some monuments, like in your beautiful city, are carved in stone. And what you are proudly celebrating tonight is the fact that Lionel Rogosin was able to leave a monument in images of our history. Then, we were able ...
- 1/23/2012
- TribecaFilm.com
Two of my favorite new posters right now, for two films opening within the next few weeks in New York, are both designed by one of my favorite designers, Scott Meola. I wrote about Scott’s work before when I featured his poster for On the Bowery back in 2010. Come Back, Africa, which Milestone Film is opening in New York next Friday, was Lionel Rogosin’s follow-up to Bowery, a film shot clandestinely in the townships of Johannesburg, South Africa in 1959. The film’s pointed condemnation of apartheid and joyful celebration of township culture is hinted at in the accidental split-screen image of the poster’s photograph, with its busking children below scornful onlookers (I love how Meola zeroes in on the prime representative of this police state within the middle C of the title).
The poster for Béla Tarr’s The Turin Horse, which opens on February 10th, (and which,...
The poster for Béla Tarr’s The Turin Horse, which opens on February 10th, (and which,...
- 1/20/2012
- MUBI
Review of Son Of No One - Loses control of its dirty cop drama via melodramatic performances. The gritty love affair filmmaker Dito Montiel shows for New York City and especially his former stomping grounds in Queens in his third feature Son of No One follows in the footsteps of greats like John Cassavetes and Martin Scorsese and goes as far back in cinema geekdom as Lionel Rogosin's 1957 underbelly classic On the Bowery. Montiel has a way with the sidewalk lowlifes and petty thieves ignored by Hollywood's depictions of fantasy New York awash in luxury. In his corrupt cop tale Son of No One, the former Punk Rocker, sometimes journalist and author also shows talent for the type of male, toilet seat melodramas that show men screaming and crying just as loud as any kitchen sink women. Realistic, New York grit may be the surface level detail that connects...
- 11/5/2011
- Upcoming-Movies.com
Review of Son Of No One - Loses control of its dirty cop drama via melodramatic performances. The gritty love affair filmmaker Dito Montiel shows for New York City and especially his former stomping grounds in Queens in his third feature Son of No One follows in the footsteps of greats like John Cassavetes and Martin Scorsese and goes as far back in cinema geekdom as Lionel Rogosin's 1957 underbelly classic On the Bowery. Montiel has a way with the sidewalk lowlifes and petty thieves ignored by Hollywood's depictions of fantasy New York awash in luxury. In his corrupt cop tale Son of No One, the former Punk Rocker, sometimes journalist and author also shows talent for the type of male, toilet seat melodramas that show men screaming and crying just as loud as any kitchen sink women. Realistic, New York grit may be the surface level detail that connects...
- 11/5/2011
- Upcoming-Movies.com
Review of Son Of No One - Loses control of its dirty cop drama via melodramatic performances. The gritty love affair filmmaker Dito Montiel shows for New York City and especially his former stomping grounds in Queens in his third feature Son of No One follows in the footsteps of greats like John Cassavetes and Martin Scorsese and goes as far back in cinema geekdom as Lionel Rogosin's 1957 underbelly classic On the Bowery. Montiel has a way with the sidewalk lowlifes and petty thieves ignored by Hollywood's depictions of fantasy New York awash in luxury. In his corrupt cop tale Son of No One, the former Punk Rocker, sometimes journalist and author also shows talent for the type of male, toilet seat melodramas that show men screaming and crying just as loud as any kitchen sink women. Realistic, New York grit may be the surface level detail that connects...
- 11/5/2011
- Upcoming-Movies.com
1959: Number 17 in our series of the 50 key events in the history of world and folk music
The feisty township singer Miriam Makeba was already a star in her native South Africa when she played a brief cameo in a controversial Us anti-apartheid film called Come Back, Africa. The docudrama was covertly filmed by the American director Lionel Rogosin under the noses of hostile authorities before being smuggled abroad, where it served as an early document of the iniquities of apartheid.
Makeba was both victim and beneficiary of this clandestine film. Furious South African authorities revoked her passport, forcing her to seek asylum in the Us, where Makeba quickly became a huge celebrity. She appeared on the Steve Allen show in November 1959, performed for the likes of Duke Ellington and Miles Davis at the Village Vanguard, hobnobbed with Marlon Brando, Harry Belafonte and Sammy Davis Jr and was even...
The feisty township singer Miriam Makeba was already a star in her native South Africa when she played a brief cameo in a controversial Us anti-apartheid film called Come Back, Africa. The docudrama was covertly filmed by the American director Lionel Rogosin under the noses of hostile authorities before being smuggled abroad, where it served as an early document of the iniquities of apartheid.
Makeba was both victim and beneficiary of this clandestine film. Furious South African authorities revoked her passport, forcing her to seek asylum in the Us, where Makeba quickly became a huge celebrity. She appeared on the Steve Allen show in November 1959, performed for the likes of Duke Ellington and Miles Davis at the Village Vanguard, hobnobbed with Marlon Brando, Harry Belafonte and Sammy Davis Jr and was even...
- 6/15/2011
- by John Lewis
- The Guardian - Film News
A gorgeous new poster for Milestone Films’ release of the restoration of Lionel Rogosin’s 1957 documentary On the Bowery, which opens on September 17 at Film Forum. Part-verité, part staged drama, On the Bowery chronicles three days in the life of real-life war veteran Ray Salyer who has wound up on New York’s infamous skid row and is sinking fast. Rogosin spent four months shooting in bars and flop houses and under the El with real Bowery denizens, improvising a story around them.
I love the depth of field in the poster. The printed version especially sucks you into its damaged world. According to Anthony Deen, son of assistant cameraman Darwin Deen, this particular shot was set up by covering up the camera with bottles so that the people at the bar would feel comfortable and not pay attention to it.
It’s a beautiful still, but it’s the...
I love the depth of field in the poster. The printed version especially sucks you into its damaged world. According to Anthony Deen, son of assistant cameraman Darwin Deen, this particular shot was set up by covering up the camera with bottles so that the people at the bar would feel comfortable and not pay attention to it.
It’s a beautiful still, but it’s the...
- 8/27/2010
- MUBI
Arnold Schwarzenegger has earned a spot in the halls of Washington, but not because of his political career.
Instead, the former actor's turn as a robot from the future was enshrined in the Library of Congress as the National Film Registry announced Tuesday that "The Terminator" is among the 25 films that have been selected for preservation in the Registry in 2008.
Under the terms of the National Film Preservation Act, each year the Librarian of Congress names 25 films to the Registry that are "culturally, historically or aesthetically" significant. The choices aren't necessarily considered the best American films; they are chosen by Librarian of Congress James H. Billington on the advice of the Film Preservation Board and the library's motion picture staff because the selections possess "enduring significance to American culture."
James Cameron's 1984 "Terminator," in which the future governor of California's cyborg utters the classic line, "I'll be back," was cited for "blending an ingenious,...
Instead, the former actor's turn as a robot from the future was enshrined in the Library of Congress as the National Film Registry announced Tuesday that "The Terminator" is among the 25 films that have been selected for preservation in the Registry in 2008.
Under the terms of the National Film Preservation Act, each year the Librarian of Congress names 25 films to the Registry that are "culturally, historically or aesthetically" significant. The choices aren't necessarily considered the best American films; they are chosen by Librarian of Congress James H. Billington on the advice of the Film Preservation Board and the library's motion picture staff because the selections possess "enduring significance to American culture."
James Cameron's 1984 "Terminator," in which the future governor of California's cyborg utters the classic line, "I'll be back," was cited for "blending an ingenious,...
- 12/30/2008
- by By Gregg Kilday
- The Hollywood Reporter - Movie News
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