The next installment in the Sword Art Online the Movie -Progressive- movie series arrives on Crunchyroll today! You can start watching Sword Art Online the Movie -Progressive- Scherzo of Deep Night , both English sub and dub, on the platform later today starting at 5:00 p.m. Pt. Read on for everything you need to know about the premiere! Sword Art Online -Progressive- Scherzo of Deep Night Release Date : February 15 at 5:00 p.m. Pt Territories: United States, Canada, United Kingdom, Ireland, Australia, New Zealand, the Nordics, Latin America, Europe Synopsis: The world’s first Vrmmorpg (Sword Art Online) became a game of death. Over a month has passed since 10,000 users were trapped inside the game world. Asuna, who cleared the first floor of the floating iron castle of Aincrad, joined up with Kirito and continued her journey to reach the top floor. With the support of female Information Broker Argo,...
- 2/15/2024
- by Kyle Cardine
- Crunchyroll
The latest outing from the multimedia franchise finds its heroes still trapped inside an RPG, where they learn lessons about cooperation
Online trolls, squabblers and that scourge of Mmorpg, player-killers, come in for a severe ticking-off in the snappily titled second film spin-off of the light novel, manga and TV anime Sword Art Online franchise. This aims to school teen gamers in online etiquette, but goes about it so sententiously it’s enough to send anyone scurrying for the dark web.
Scherzo of Deep Night’s lead pair of avatars, long-tressed fencer Asuna (voiced by Haruka Tomatsu) and big-fringed warrior Kirito (Yoshitsugu Matsuoka), are still trapped inside Sword Art Online, a D&d-style online role-playing game. They are solo adventurers, but find themselves caught up in the rivalry between two guilds that players can sign up to. When Asuna and Kirito get wind that one is planning to lay hands...
Online trolls, squabblers and that scourge of Mmorpg, player-killers, come in for a severe ticking-off in the snappily titled second film spin-off of the light novel, manga and TV anime Sword Art Online franchise. This aims to school teen gamers in online etiquette, but goes about it so sententiously it’s enough to send anyone scurrying for the dark web.
Scherzo of Deep Night’s lead pair of avatars, long-tressed fencer Asuna (voiced by Haruka Tomatsu) and big-fringed warrior Kirito (Yoshitsugu Matsuoka), are still trapped inside Sword Art Online, a D&d-style online role-playing game. They are solo adventurers, but find themselves caught up in the rivalry between two guilds that players can sign up to. When Asuna and Kirito get wind that one is planning to lay hands...
- 1/30/2023
- by Phil Hoad
- The Guardian - Film News
After a romantic weekend gets sidetracked, a young couple find themselves at an outdated hotel, caught up in murderous death-loops, and as bait for a demon. Vertical Entertainment is releasing The Overnight, a horror flick from directors Bobby Francavillo and Kevin Rhoades, in theaters this Friday. We have an exclusive clip to share with you today. You will find it and the trailer down below. The Overnight stars starring Zebedee Row, Rajeev Varma, Brittany Clark, James Lorinz, and Mathilde Dehaye (Servant). Interesting tidbit here. The screenplay was written by Mel Hagopian; she wrote the adaptation of Ronal the Barbarian. Yes, that crude animated fantasy comedy...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 6/2/2022
- Screen Anarchy
After unveiling the discs that will be arriving in April, including Bong Joon Ho’s Memories of Murder, Olivier Assayas’ Irma Vep, and more, Criterion has now announced what will be coming to their streaming channel next month.
Highlights include retrospectives dedicated to Guy Maddin, Ruby Dee, Lana Turner, and Gordon Parks, plus selections from Marlene Dietrich & Josef von Sternberg’s stellar box set. They will also present the exclusive streaming premieres of Bill Duke’s The Killing Floor, William Greaves’s Nationtime, Kevin Jerome Everson’s Park Lanes, and more.
Jim Jarmusch’s Ghost Dog: The Way of the Samurai, which recently arrived on the collection, will be landing on the channel as well, along with a special “Lovers on the Run” series including film noir (They Live by Night) to New Hollywood (Badlands) to the French New Wave (Pierrot le fou) to Blaxploitation (Thomasine & Bushrod) and beyond. Also...
Highlights include retrospectives dedicated to Guy Maddin, Ruby Dee, Lana Turner, and Gordon Parks, plus selections from Marlene Dietrich & Josef von Sternberg’s stellar box set. They will also present the exclusive streaming premieres of Bill Duke’s The Killing Floor, William Greaves’s Nationtime, Kevin Jerome Everson’s Park Lanes, and more.
Jim Jarmusch’s Ghost Dog: The Way of the Samurai, which recently arrived on the collection, will be landing on the channel as well, along with a special “Lovers on the Run” series including film noir (They Live by Night) to New Hollywood (Badlands) to the French New Wave (Pierrot le fou) to Blaxploitation (Thomasine & Bushrod) and beyond. Also...
- 1/26/2021
- by Leonard Pearce
- The Film Stage
The Notebook Primer introduces readers to some of the most important figures, films, genres, and movements in film history.It was often said that women wanted to be with Cary Grant and men wanted to be Cary Grant, but perhaps no one was more consumed by the perception of Cary Grant—the handsome, unremittingly suave and stylish movie star—than Grant himself. “Even I want to be Cary Grant,” the actor once mused. Indeed, Grant’s public and on-screen persona was a carefully crafted, meticulously honed, and ultimately triumphant development, as much to suit the needs of his ascending celebrity as it was to shroud an unhappy childhood, a series of romantic passions and disappointments, and a latent dark side fostered by uncertainty and doubt. It was, however, and in any and all cases, resoundingly successful. Grant was the epitome of the movie star, a Hollywood icon and one of its most entertaining,...
- 10/22/2020
- MUBI
Who is your favourite from each year in the 1930s? My current votes go like so though there are always more films to see so one must always reserve the right to change one's mind.
1930 Norma Shearer, The Divorcee 1931 Marie Dressler, Min & Bill 1932 Marlene Dietrich, Blonde Venus 1933 Greta Garbo, Queen Christina 1934 Claudette Colbert, It Happened One Night 1935 Katharine Hepburn, Alice Adams 1936 Carole Lombard, My Man Godfrey 1937 Irene Dunne, The Awful Truth 1938 Bette Davis, Jezebel 1939 Vivien Leigh, Gone With the Wind (though I'll admit to being somewhat torn because Dark Victory is my favourite pre 1950s Bette Davis performance)...
1930 Norma Shearer, The Divorcee 1931 Marie Dressler, Min & Bill 1932 Marlene Dietrich, Blonde Venus 1933 Greta Garbo, Queen Christina 1934 Claudette Colbert, It Happened One Night 1935 Katharine Hepburn, Alice Adams 1936 Carole Lombard, My Man Godfrey 1937 Irene Dunne, The Awful Truth 1938 Bette Davis, Jezebel 1939 Vivien Leigh, Gone With the Wind (though I'll admit to being somewhat torn because Dark Victory is my favourite pre 1950s Bette Davis performance)...
- 7/24/2020
- by NATHANIEL R
- FilmExperience
The writer/director of The Love Witch talks about her favorite classic women’s pictures.
Show Notes: Movies Referenced In This Episode
The Love Witch (2016)
Baby Face (1933)
Stromboli (1950)
Europa ’51 (1951)
Fear (1951)
Duel In The Sun (1946)
The Scarlet Empress (1934)
Blonde Venus (1932)
Nora Prentiss (1947)
Woman On The Run (1950)
Wait Until Dark (1967)
Rosemary’s Baby (1968)
Imitation of Life (1969)
Little Women (2019)
Emma (2020)
My Cousin Rachel (2017)
Sex and the City (2008)
Mamma Mia! (2008)
Mildred Pierce (1945)
The Reckless Moment (1949)
Sudden Fear (1952)
Torch Song (1953)
Captain Marvel (2019)
Other Notable Items
The Captain Trips virus in Stephen King’s novel The Stand (1978)
Marlene Dietrich
Mae West
Jennifer Jones
Joan Crawford
Joan Bennett
Gene Tierney
Barbara Stanwyck
The Hays Code
Cary Grant
Marilyn Monroe
Ingrid Bergman
Roberto Rossellini
The Academy Awards
Bette Davis
Jennifer Jones
Gregory Peck
Joseph Cotten
Travis Banton
Josef von Sternberg
Catherine the Great
The Criterion Collection
Kent Smith
Dan Duryea
Douglas Sirk
Jane Austen
Mildred Pierce TV miniseries...
Show Notes: Movies Referenced In This Episode
The Love Witch (2016)
Baby Face (1933)
Stromboli (1950)
Europa ’51 (1951)
Fear (1951)
Duel In The Sun (1946)
The Scarlet Empress (1934)
Blonde Venus (1932)
Nora Prentiss (1947)
Woman On The Run (1950)
Wait Until Dark (1967)
Rosemary’s Baby (1968)
Imitation of Life (1969)
Little Women (2019)
Emma (2020)
My Cousin Rachel (2017)
Sex and the City (2008)
Mamma Mia! (2008)
Mildred Pierce (1945)
The Reckless Moment (1949)
Sudden Fear (1952)
Torch Song (1953)
Captain Marvel (2019)
Other Notable Items
The Captain Trips virus in Stephen King’s novel The Stand (1978)
Marlene Dietrich
Mae West
Jennifer Jones
Joan Crawford
Joan Bennett
Gene Tierney
Barbara Stanwyck
The Hays Code
Cary Grant
Marilyn Monroe
Ingrid Bergman
Roberto Rossellini
The Academy Awards
Bette Davis
Jennifer Jones
Gregory Peck
Joseph Cotten
Travis Banton
Josef von Sternberg
Catherine the Great
The Criterion Collection
Kent Smith
Dan Duryea
Douglas Sirk
Jane Austen
Mildred Pierce TV miniseries...
- 5/19/2020
- by Kris Millsap
- Trailers from Hell
Philip French’s screen legends: No 21
‘I am not a myth,’ she said - one of her least convincing statements. Born in Berlin, the daughter of a military family, she broke on to the international scene with the coming of sound as the nightclub performer Lola Lola, humiliating and destroying schoolteacher Emil Jannings in The Blue Angel (1930), a role on which she was to play variations for the rest of her life. The film was directed in Berlin by Joseph von Sternberg, the Hollywood aristocrat born into a working-class Jewish family in Vienna. Both self-creations, their conspiratorial Svengali-Trilby relationship continued back in the Us with six exotic, erotic melodramas at Paramount, in which exquisite decor accompanied the subversion of social decorum. Most of the films were produced before the Hollywood code was strictly enforced. Blonde Venus (1932), for instance, begins with Marlene and five other fräuleins bathing in the nude observed by six American hikers.
‘I am not a myth,’ she said - one of her least convincing statements. Born in Berlin, the daughter of a military family, she broke on to the international scene with the coming of sound as the nightclub performer Lola Lola, humiliating and destroying schoolteacher Emil Jannings in The Blue Angel (1930), a role on which she was to play variations for the rest of her life. The film was directed in Berlin by Joseph von Sternberg, the Hollywood aristocrat born into a working-class Jewish family in Vienna. Both self-creations, their conspiratorial Svengali-Trilby relationship continued back in the Us with six exotic, erotic melodramas at Paramount, in which exquisite decor accompanied the subversion of social decorum. Most of the films were produced before the Hollywood code was strictly enforced. Blonde Venus (1932), for instance, begins with Marlene and five other fräuleins bathing in the nude observed by six American hikers.
- 12/27/2017
- by Guardian Staff
- The Guardian - Film News
Kino Lorber is issuing a new 2K restoration of Josef von Sternberg’s final film “Anatahan“ in theaters next month. Von Sternberg was a prominent figure in the late silent-movie era of the ’20s and transitioned easily to sound pictures. In his 1930 film, “The Blue Angel,” he introduced Marlene Dietrich to the world; they would collaborate together on six more pictures, including “Morocco” (1930), “Blonde Venus” (1932) and “The Devil Is A Woman” (1935).
Continue reading The War Isn’t Over In Trailer For Josef von Sternberg’s Newly Restored ‘Anatahan’ at The Playlist.
Continue reading The War Isn’t Over In Trailer For Josef von Sternberg’s Newly Restored ‘Anatahan’ at The Playlist.
- 1/25/2017
- by Christian Gallichio
- The Playlist
After months of intense competition, Laurie Hernandez and Val Chmerkovskiy walked away with the mirror ball trophy on the Dancing With the Stars finale. Host Erin Andrews also ended the season with a bang, wearing two jaw-dropping looks that are worthy of straight 10s across the leader-board.
For Monday’s final night of competition, the 38-year-old host went for a Pretty Woman inspired look in the off-the-shoulder Theia Couture fuchsia pink gown she wore. Despite being obsessed with the dress, Andrews admitted the off-the-shoulder style tested her patience.
Related Photos: Better From the Back? Stars’ Most Jaw-Dropping 360°
“I couldn’t lift my arms at all,...
For Monday’s final night of competition, the 38-year-old host went for a Pretty Woman inspired look in the off-the-shoulder Theia Couture fuchsia pink gown she wore. Despite being obsessed with the dress, Andrews admitted the off-the-shoulder style tested her patience.
Related Photos: Better From the Back? Stars’ Most Jaw-Dropping 360°
“I couldn’t lift my arms at all,...
- 11/23/2016
- by kaitlynfrey
- PEOPLE.com
For this week's Best Shot episode we featured two Josef Von Sternberg & Marlene Dietrich pictures. The famous Director/Muse pair made seven films together but we asked Best Shot volunteers to do either Morocco (1930) or Blonde Venus (1932), their first two Hollywood pictures. Let's get right to the choices - click on the photos to enjoy the corresponding articles and participating blogs...
Morocco (1930)
Directed by Josef Von Sternberg. Cinematography by Lee Garmes
Nominated for 4 Oscars including Cinematography
What becomes a legend most?
-Dancin Dan on Film
It bizarrely holds together even when the seams look like they are going to burst apart at any second from being buffeted by sand...
-Scopophiliac at the Movies
She strikes quite a figure though throughout the film...
-Sorta That Guy
Blonde Venus (1932)
Directed by Josef Von Sternberg. Cinematography by Bert Glennon
An impression she gives you in one moment she might take back with force in the very next.
Morocco (1930)
Directed by Josef Von Sternberg. Cinematography by Lee Garmes
Nominated for 4 Oscars including Cinematography
What becomes a legend most?
-Dancin Dan on Film
It bizarrely holds together even when the seams look like they are going to burst apart at any second from being buffeted by sand...
-Scopophiliac at the Movies
She strikes quite a figure though throughout the film...
-Sorta That Guy
Blonde Venus (1932)
Directed by Josef Von Sternberg. Cinematography by Bert Glennon
An impression she gives you in one moment she might take back with force in the very next.
- 6/1/2016
- by NATHANIEL R
- FilmExperience
For this week's Best Shot Episode: Marlene Dietrich. I asked participants to choose either Morocco (1930) or Blonde Venus (1932).
Her most fascinating scene in Blonde Venus: the confession.
Is Marlene Dietrich a good actress? This question haunted me while watching Blonde Venus, the fascinating Pre-Code movie in which Dietrich plays dozens of archetypes within a brisk 93 minutes: loving mother, drunk floozy, hot temptress, frigid lover, forest nymph, martyred saint, gold digger, confident androgyne, isolated immigrant, jaded bitch, dazzling entertainer. It's enough to give you whiplash if you're trying to get a bead on Helen Jones, her cabaret singer / struggling mother in Blonde Venus (1932).
On the one hand she does everything "wrong." She rarely modulates her voice. Her characterizations aren't especially cohesive -- an impression she gives you in one moment she might take back with force in the very next...
Her most fascinating scene in Blonde Venus: the confession.
Is Marlene Dietrich a good actress? This question haunted me while watching Blonde Venus, the fascinating Pre-Code movie in which Dietrich plays dozens of archetypes within a brisk 93 minutes: loving mother, drunk floozy, hot temptress, frigid lover, forest nymph, martyred saint, gold digger, confident androgyne, isolated immigrant, jaded bitch, dazzling entertainer. It's enough to give you whiplash if you're trying to get a bead on Helen Jones, her cabaret singer / struggling mother in Blonde Venus (1932).
On the one hand she does everything "wrong." She rarely modulates her voice. Her characterizations aren't especially cohesive -- an impression she gives you in one moment she might take back with force in the very next...
- 5/31/2016
- by NATHANIEL R
- FilmExperience
If you're just getting back from a long holiday weekend, catch up!
We looked back at Dorothy Dandridge in bondage in Tarzan's Peril...
Talked about the open director's chair for the 007 franchise...
Delivered not one but two new podcasts...
Investigated that cursed farm in The Witch in the latest "The Furniture"...
Reviewed the new X-Men film and looked at the career of Tye Sheridan thus far...
...and shared highlights of the month of May including Thelma & Louise, Oscar's Best Bad Girls, Sing Street, and more. If you've been away, there's lots to read.
P.S. And the Best Shot Episode starring Marlene Dietrich with Morocco (1930) and Blonde Venus (1932). ...
We looked back at Dorothy Dandridge in bondage in Tarzan's Peril...
Talked about the open director's chair for the 007 franchise...
Delivered not one but two new podcasts...
Investigated that cursed farm in The Witch in the latest "The Furniture"...
Reviewed the new X-Men film and looked at the career of Tye Sheridan thus far...
...and shared highlights of the month of May including Thelma & Louise, Oscar's Best Bad Girls, Sing Street, and more. If you've been away, there's lots to read.
P.S. And the Best Shot Episode starring Marlene Dietrich with Morocco (1930) and Blonde Venus (1932). ...
- 5/31/2016
- by NATHANIEL R
- FilmExperience
'Here's what's coming up the rest of this month on Best Shot if you'd like to join us. It's easy. You...
1) watch the movie
2) pick a shot, post it and say why you love it
3) let us know you did via twitter, email or comments and we link up
May 17th Queen Margot (1994)
Madwoman Isabelle Adjani stars in this blood-soaked, erotically-charged 16th century French epic which we figured is a great fit for a Cannes heavy week (the film won two prizes in its year including Best Actress for its unforgettable supporting actress Virna Lisi). Plus the last time we did an Adjani (The Story of Adele H) the articles were hot. Please join us if you haven't seen this one! [Streaming on Netflix]
May 24th Star Wars: The Force Awakens (2015)
We pushed this back a month since it wasn't yet available to rent but it's time to revisit future jedi Rey as...
1) watch the movie
2) pick a shot, post it and say why you love it
3) let us know you did via twitter, email or comments and we link up
May 17th Queen Margot (1994)
Madwoman Isabelle Adjani stars in this blood-soaked, erotically-charged 16th century French epic which we figured is a great fit for a Cannes heavy week (the film won two prizes in its year including Best Actress for its unforgettable supporting actress Virna Lisi). Plus the last time we did an Adjani (The Story of Adele H) the articles were hot. Please join us if you haven't seen this one! [Streaming on Netflix]
May 24th Star Wars: The Force Awakens (2015)
We pushed this back a month since it wasn't yet available to rent but it's time to revisit future jedi Rey as...
- 5/14/2016
- by NATHANIEL R
- FilmExperience
Child actor Dickie Moore: 'Our Gang' member. Former child actor Dickie Moore dead at 89: Film career ranged from 'Our Gang' shorts to features opposite Marlene Dietrich and Gary Cooper 1930s child actor Dickie Moore, whose 100+ movie career ranged from Our Gang shorts to playing opposite the likes of Marlene Dietrich, Barbara Stanwyck, and Gary Cooper, died in Connecticut on Sept. 7, '15 – five days before his 90th birthday. So far, news reports haven't specified the cause of death. According to a 2013 Boston Phoenix article about Moore's wife, MGM musical star Jane Powell, he had been “suffering from arthritis and bouts of dementia.” Dickie Moore movies At the behest of a persistent family friend, combined with the fact that his father was out of a job, Dickie Moore (born on Sept. 12, 1925, in Los Angeles) made his film debut as an infant in Alan Crosland's 1927 costume drama The Beloved Rogue,...
- 9/11/2015
- by Andre Soares
- Alt Film Guide
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.Above, the trailer for Denis Villeneuve's thriller Sicario, which premiered in competition in Cannes.Cinema Scope #63 is about to hit newstands, but a lot of it can be read online: Mark Peranson on Cannes and Miguel Gomes, Adam Cook talks with Corneliu Porumboiu, Jordan Cronk on The Assassin, Chuck Stephens on Gregory Markopoulous, Christoph Huber on Mad Max: Fury Road, and more.Author William Gibson recounts his encounters with Chris Marker's La Jetée.James Horner, the composer of scores for such Hollywood films as 48 Hrs, Aliens, and Titanic, has died at the age of 61.Federic Babina has made a series of "Archidirector" illustrations, imagining houses designed in the style of filmmakers like David Lynch and Stanley Kubrick.Sight & Sound has exclusive images from the production of Ben Rivers' new movie,...
- 6/24/2015
- by Notebook
- MUBI
Fear in a Handful of Dust: Van Hees Completes Trilogy with Dark Metaphor
Belgian director Pieter Van Hees completes his trilogy that began with 2008’s Left Bank, the thematically connected “Anatomy of Love and Pain,” with the third chapter, Waste Land, exploring the idea of ‘soul’ with a neo-noir tinged mystery concerning the unraveling of a relationship and the loss of love. So named for T.S. Eliot’s famed 1922 poem, Van Hees has crafted a surreal nightmare that contains some profound mutations concerning historical atrocities from Europe’s colonialist past, of which Belgium also figured into. A director whose previous titles haven’t been able to tap into the offbeat English speaking audiences that are sure to embrace his bizarre flavor, the international renown of star Jeremie Renier should afford Van Hees’ latest work a higher visibility.
Detective Leo Woeste (Renier) is a high strung, yet effective homicide detective happily...
Belgian director Pieter Van Hees completes his trilogy that began with 2008’s Left Bank, the thematically connected “Anatomy of Love and Pain,” with the third chapter, Waste Land, exploring the idea of ‘soul’ with a neo-noir tinged mystery concerning the unraveling of a relationship and the loss of love. So named for T.S. Eliot’s famed 1922 poem, Van Hees has crafted a surreal nightmare that contains some profound mutations concerning historical atrocities from Europe’s colonialist past, of which Belgium also figured into. A director whose previous titles haven’t been able to tap into the offbeat English speaking audiences that are sure to embrace his bizarre flavor, the international renown of star Jeremie Renier should afford Van Hees’ latest work a higher visibility.
Detective Leo Woeste (Renier) is a high strung, yet effective homicide detective happily...
- 9/7/2014
- by Nicholas Bell
- IONCINEMA.com
Tod Browning’s “Freaks”
Before R-ratings, anti-heroes and gratuitous violence and nudity in mainstream Hollywood movies, there was the Hays Code. As a form of self-policing the industry, virtually every movie released up until 1968 needed that stamp of approval if it wanted distribution. And while it helped produce all of Old Hollywood’s true classics for several decades, it often included ridiculous rulings like not being able to show or flush a toilet on screen, not allowing married couples to be shown sleeping in the same bad or always making sure criminals, even protagonists of the movie, got punished in the end.
But before the Hays Code was nothing, and it was a gloriously weird, scandalous time for the movies. Certain Hollywood films in the early ’30s as “talkies” were rapidly taking hold have since been labeled “Pre-Code” films that never received Hollywood’s stamp of approval.
Every Friday in September,...
Before R-ratings, anti-heroes and gratuitous violence and nudity in mainstream Hollywood movies, there was the Hays Code. As a form of self-policing the industry, virtually every movie released up until 1968 needed that stamp of approval if it wanted distribution. And while it helped produce all of Old Hollywood’s true classics for several decades, it often included ridiculous rulings like not being able to show or flush a toilet on screen, not allowing married couples to be shown sleeping in the same bad or always making sure criminals, even protagonists of the movie, got punished in the end.
But before the Hays Code was nothing, and it was a gloriously weird, scandalous time for the movies. Certain Hollywood films in the early ’30s as “talkies” were rapidly taking hold have since been labeled “Pre-Code” films that never received Hollywood’s stamp of approval.
Every Friday in September,...
- 9/4/2014
- by Brian Welk
- SoundOnSight
Some specialty festival events started this week that should be on your radar. The 17th annual Cine Las Americas festival runs through Sunday. Movies are playing at four venues, including the Marchesa and the Alamo Drafthouse Village. If you didn't get a film pass, you can buy individual tickets at the venues if the films aren't at capacity. The seventh annual Off-Centered Film Fest is also going on through the weekend. Special events include a 35mm screening of Jackie Chan's Drunken Master and Harold Lloyd's 1923 silent classic Safety Last!
The Marchesa will be tied up with Cine Las Americas screenings through the weekend, but Austin Film Society has a few other tricks up its sleeve. Richard Linklater returns on Wednesday night for his Jewels In The Wasteland series. He'll be presenting Ingmar Bergman's Fanny And Alexander in a 35mm print of the original 188-minute theatrical version. This...
The Marchesa will be tied up with Cine Las Americas screenings through the weekend, but Austin Film Society has a few other tricks up its sleeve. Richard Linklater returns on Wednesday night for his Jewels In The Wasteland series. He'll be presenting Ingmar Bergman's Fanny And Alexander in a 35mm print of the original 188-minute theatrical version. This...
- 4/25/2014
- by Matt Shiverdecker
- Slackerwood
So it looks like indie-minded producer Megan Ellison of Annapurna Pictures, who backed upcoming Cannes entry "Foxcatcher" as well as such Oscar contenders as "The Master," "American Hustle" and "Her," is now developing her first TV series to be sold to the networks. Set during Hollywood's Golden Age, the drama focuses on Nordic beauties Greta Garbo and Marlene Dietrich, who were known for their androgynous mystery. “The Swedish Sphinx” and “The Blonde Venus” could be both glamorous and alluring--and get away with wearing pants. Thus, much like one-time roommates Cary Grant and Randolph Scott, rumors swirled surrounded them. Based at MGM, Greta Garbo ("Grand Hotel," "Ninotchka," "Queen Christina") never starred in a movie with Paramount's reigning diva Dietrich ("Shanghai Express," "Morocco," "Catherine the Great"), and the two so-called studio rivals claimed to have never met. (Back in Europe, they reportedly each enjoyed an affair with elegant aristocrat Mercedes de...
- 4/19/2014
- by Anne Thompson
- Thompson on Hollywood
The full, 462 page English version of Allan Dwan: A Dossier, published by LUMIÈRE, edited by David Phelps and Gina Telaroli, and translated with Ted Fendt and Bill Krohn, is now online for free! Farran Nehme, the "Self-Styled Siren", has some lovely words on the recently departed Mickey Rooney:
"Few terms are crueler than has-been. A has-been is Norma Desmond rattling around an empty mansion. Avoiding strong light like a vampire, bitterly dishing old enemies to skeptical interviewers. So focused on looking back that you never move forward.
Mickey Rooney was never a true has-been in his life, not with 90 years of work. Shorts and features, A pictures and B pictures, star turns and character parts. Social dramas, musicals, an impressive run of noirs, comedies, Emmy awards, sitcoms, a hit Broadway show. The Siren spotted him in The Muppets in 2011 and heard a college-age woman whisper to her companion,...
"Few terms are crueler than has-been. A has-been is Norma Desmond rattling around an empty mansion. Avoiding strong light like a vampire, bitterly dishing old enemies to skeptical interviewers. So focused on looking back that you never move forward.
Mickey Rooney was never a true has-been in his life, not with 90 years of work. Shorts and features, A pictures and B pictures, star turns and character parts. Social dramas, musicals, an impressive run of noirs, comedies, Emmy awards, sitcoms, a hit Broadway show. The Siren spotted him in The Muppets in 2011 and heard a college-age woman whisper to her companion,...
- 4/9/2014
- by Adam Cook
- MUBI
I must have been about 12 years old when I first saw Tarzan and His Mate. I loved the Tarzan movies. Tarzan was the undisputed King of the Jungle and was the greatest, Cheetah was man’s best friend, Boy was annoying, and Jane was the Queen of the Jungle and a young male’s introduction to the allure of the female. The uncensored version, with a naked Jane silhouetted while changing clothes in a backlit tent and the spectacular underwater ballet scene would have been a revelation to me; Tarzan and Jane are frolicking in their favorite swimming hole, Tarzan in his usual loincloth and Jane naked – not naked from the waste up, or presumed naked as they hid her behind some lake flora or rocks – Jane was naked.
Madam Satan
Most film fans knowledge of Pre-Code Hollywood movies doesn’t go much further than King Kong, Frankenstein, and a few other titles.
Madam Satan
Most film fans knowledge of Pre-Code Hollywood movies doesn’t go much further than King Kong, Frankenstein, and a few other titles.
- 1/31/2014
- by Gregory Small
- CinemaNerdz
Oscar winners Olivia de Havilland and Luise Rainer among movie stars of the 1930s still alive With the passing of Deanna Durbin this past April, only a handful of movie stars of the 1930s remain on Planet Earth. Below is a (I believe) full list of surviving Hollywood "movie stars of the 1930s," in addition to a handful of secondary players, chiefly those who achieved stardom in the ensuing decade. Note: There’s only one male performer on the list — and curiously, four of the five child actresses listed below were born in April. (Please scroll down to check out the list of Oscar winners at the 75th Academy Awards, held on March 23, 2003, as seen in the picture above. Click on the photo to enlarge it. © A.M.P.A.S.) Two-time Oscar winner and London resident Luise Rainer (The Great Ziegfeld, The Good Earth, The Great Waltz), 103 last January...
- 5/7/2013
- by Andre Soares
- Alt Film Guide
Each year New York residents can look forward to two essential series programmed at the Film Forum, noirs and pre-Coders (that is, films made before the strict enforcing of the Motion Picture Production Code). These near-annual retrospective traditions are refreshed and re-varied and re-repeated for neophytes and cinephiles alike, giving all the chance to see and see again great film on film. Many titles in this year's Essential Pre-Codeseries, running an epic July 15 - August 11, are old favorites and some ache to be new discoveries; all in all there are far too many racy, slipshod, patter-filled celluloid splendors to be covered by one critic alone. Faced with such a bounty, I've enlisted the kind help of some friends and colleagues, asking them to sent in short pieces on their favorites in an incomplete but also in-progress survey and guide to one of the summer's most sought-after series. In this entry: what's playing Friday,...
- 8/4/2011
- MUBI
Tuesday, DVD roundup day, is a fine day for taking a look at the new Summer 2011 issue of Cineaste, particularly since, among the online samplings this time around, DVD reviews outnumber all other types of articles combined.
To begin, Darragh O'Donoghue on Harun Farocki's Still Life (1997): "Five aphoristic essays on 17th-century Dutch still-life painting, of about three minutes each, bracket four documentary sequences of photographers creating modern still lifes for magazine advertisements. These two levels, though defined by opposites — stasis/motion, tell/show — are linked by visual motifs and rhymes, just as the modern products echo the subjects of the paintings. The documentary sequences have no commentary, mostly last ten to fifteen minutes, and take their cue from Farocki's earlier An Image (Ein bild, 1983). In that short, he recorded the shooting of a German Playboy centerfold spread, from the building of sets and the arrangement of props (including...
To begin, Darragh O'Donoghue on Harun Farocki's Still Life (1997): "Five aphoristic essays on 17th-century Dutch still-life painting, of about three minutes each, bracket four documentary sequences of photographers creating modern still lifes for magazine advertisements. These two levels, though defined by opposites — stasis/motion, tell/show — are linked by visual motifs and rhymes, just as the modern products echo the subjects of the paintings. The documentary sequences have no commentary, mostly last ten to fifteen minutes, and take their cue from Farocki's earlier An Image (Ein bild, 1983). In that short, he recorded the shooting of a German Playboy centerfold spread, from the building of sets and the arrangement of props (including...
- 6/7/2011
- MUBI
Foreword:
Bernardo Bertolucci’s 2003 film The Dreamers is a tribute to cinema. It’s mainly a tribute to the European school of cinema which had been critically acclaimed and inspirationally followed across the globe. Hence it doesn’t need any time to hook onto it. For film buffs of India and the other Third world countries, this surely works – nostalgia and associations flood in making the viewing experience quite worthwhile in most of the case. This also reminds of two very interesting and subtly different films which also pay tribute to the motion picture – Giuseppe Tornatore’s Cinema Paradiso (1998) and Mohsen Makhmalbaf’s Once Upon a Time, Cinema (1992). The latter pays tribute to the Iranian film history of the silent age. It’s quite unfortunate that in spite of being the biggest cinema industry of the world, it’s hard to find an epical re-take of the country’s cinematic ingenuity.
Bernardo Bertolucci’s 2003 film The Dreamers is a tribute to cinema. It’s mainly a tribute to the European school of cinema which had been critically acclaimed and inspirationally followed across the globe. Hence it doesn’t need any time to hook onto it. For film buffs of India and the other Third world countries, this surely works – nostalgia and associations flood in making the viewing experience quite worthwhile in most of the case. This also reminds of two very interesting and subtly different films which also pay tribute to the motion picture – Giuseppe Tornatore’s Cinema Paradiso (1998) and Mohsen Makhmalbaf’s Once Upon a Time, Cinema (1992). The latter pays tribute to the Iranian film history of the silent age. It’s quite unfortunate that in spite of being the biggest cinema industry of the world, it’s hard to find an epical re-take of the country’s cinematic ingenuity.
- 4/25/2011
- by Amitava Nag
- DearCinema.com
From a scandalous suggestion to seasonal silliness, we present the cinematic climaxes that left you wanting less
"What? What was that? That was it?! That line doesn't even make sense. That's ridiculous! That would never happen!" When an (otherwise) enjoyable film concludes with poor, painful or just plain phony lines, irritation and disappointment hits you hard and you find yourself questioning the last couple of minutes that have managed to undermine the last two hours of your life. Don't believe me? Maybe my top five popular films with rubbish final lines will change your mind …
1) "I wonder, Annabel, do you like music? It's just that I've got tickets for Handel's Water Music at the Albert Hall …"
In Notes on a Scandal, the gradual obsession of Barbara Covett (Judi Dench) with Sheba Hart (Cate Blanchett) creates a sublime sense of suspense until they finally fight it out. But in the final scene,...
"What? What was that? That was it?! That line doesn't even make sense. That's ridiculous! That would never happen!" When an (otherwise) enjoyable film concludes with poor, painful or just plain phony lines, irritation and disappointment hits you hard and you find yourself questioning the last couple of minutes that have managed to undermine the last two hours of your life. Don't believe me? Maybe my top five popular films with rubbish final lines will change your mind …
1) "I wonder, Annabel, do you like music? It's just that I've got tickets for Handel's Water Music at the Albert Hall …"
In Notes on a Scandal, the gradual obsession of Barbara Covett (Judi Dench) with Sheba Hart (Cate Blanchett) creates a sublime sense of suspense until they finally fight it out. But in the final scene,...
- 11/3/2010
- by Sophie Robehmed
- The Guardian - Film News
A couple of weeks ago, trying to encapsulate the appeal of Dario Argento's Inferno, I quoted Martin Scorsese on Mario Bava: "I...like Bava's films very much: hardly any story, just atmosphere, with all that fog and ladies walking down corridors—a kind of Italian gothic. I could just put them on loops and have one going in one room in my house, one going on in another..." Yes, exactly, and it's a sentiment, or wish, that one could apply to any number of other atmospheric films, were one to in fact have a large number of rooms in one's house. Or something. (Remember the bit in Scorsese's The King of Comedy, when Jerry Lewis' lonely talk show host Jerry Langford enters his own very spacious apartment, and we see a scene from Fuller's Pickup On South Street playing on a then-fancy TV monitor, and it seems...
- 10/19/2010
- MUBI
Grades: Underworld: B+; The Last Command: A; The Docks Of New York: A Inevitably, any mention of Vienna-born, New York-raised director Josef von Sternberg is tied to his iconic star and muse Marlene Dietrich, and not without cause: Their seven films together, including The Blue Angel, Blonde Venus, Morocco, and The Scarlet Empress, gave her an exotic aura that other actresses and performers have tried to imitate since, with limited success. To take nothing away from Dietrich, a great deal of that aura had to do with von Sternberg’s meticulous craft, characterized by a subtle, caressing lighting scheme that ...
- 8/25/2010
- avclub.com
Nothing empowers women more than a good education and career, but since cinema began they have been unable to resist copying the fashions that give models and Hollywood stars allure
Growing up in 1950s Britain we learned that there was something dodgy about glamour. My home-loving mother pursed her lips at the bright blond hair and confident up-slick of black eyeliner sported by a friend's mum who was into amateur theatricals.
To the headmistress of our all-girls grammar school, fashion was at odds with high-mindedness. She was famous for not allowing her teaching staff to wear lipstick. In the 1950s she waged guerrilla warfare against the wearing of "paper-nylon" petticoats, designed to give a sticking-out effect to the skirts of summer dresses. These were frequently confiscated from sixth-formers and hung like scalps on pegs outside her study, a shameful warning to those lower down the school. Glamour got a girl into trouble.
Growing up in 1950s Britain we learned that there was something dodgy about glamour. My home-loving mother pursed her lips at the bright blond hair and confident up-slick of black eyeliner sported by a friend's mum who was into amateur theatricals.
To the headmistress of our all-girls grammar school, fashion was at odds with high-mindedness. She was famous for not allowing her teaching staff to wear lipstick. In the 1950s she waged guerrilla warfare against the wearing of "paper-nylon" petticoats, designed to give a sticking-out effect to the skirts of summer dresses. These were frequently confiscated from sixth-formers and hung like scalps on pegs outside her study, a shameful warning to those lower down the school. Glamour got a girl into trouble.
- 3/21/2010
- The Guardian - Film News
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Cinema Retro has received the following press release from the British Film Institute regarding their program of events for the month of December at the Southbank theatre facility in London. For full info and tickets visit the web site by clicking here.
Blonde Venus, one of the films screened as part of the Von Sternberg tribute.
Josef Von Sternberg
This month we will celebrate the career of Josef von Sternberg – one of Hollywood’s most visionary directors – with a complete retrospective of his films. He was the man Marlene Dietrich called her master, and is perhaps best known for Underworld (1927), The Blue Angel (1930) and Macao (1952)
Sally Potter
Sally Potter is one of the UK’s most innovative and original filmmakers, and we look forward to launching our comprehensive study of her career with a screening of Orlando (1993) followed by a Q&A...
Cinema Retro has received the following press release from the British Film Institute regarding their program of events for the month of December at the Southbank theatre facility in London. For full info and tickets visit the web site by clicking here.
Blonde Venus, one of the films screened as part of the Von Sternberg tribute.
Josef Von Sternberg
This month we will celebrate the career of Josef von Sternberg – one of Hollywood’s most visionary directors – with a complete retrospective of his films. He was the man Marlene Dietrich called her master, and is perhaps best known for Underworld (1927), The Blue Angel (1930) and Macao (1952)
Sally Potter
Sally Potter is one of the UK’s most innovative and original filmmakers, and we look forward to launching our comprehensive study of her career with a screening of Orlando (1993) followed by a Q&A...
- 12/1/2009
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
'Everybody wants to be Cary Grant," the iconic actor is supposed to have once joked. "Even I want to be Cary Grant."
The suave Grant (1904-1986), born Archibald Leach in England, is the subject of a rare retrospective opening tonight at the Bam Rose Cinemas with one of his earliest leading-man assignments.
He's a playboy dallying with married woman Marlene Dietrich in Josef von Sternberg's outrageous pre-code gem "Blonde Venus" (1932), which is best remembered for her appearance in a...
The suave Grant (1904-1986), born Archibald Leach in England, is the subject of a rare retrospective opening tonight at the Bam Rose Cinemas with one of his earliest leading-man assignments.
He's a playboy dallying with married woman Marlene Dietrich in Josef von Sternberg's outrageous pre-code gem "Blonde Venus" (1932), which is best remembered for her appearance in a...
- 8/3/2009
- by By LOU LUMENICK
- NYPost.com
Blonde Venus (1932)—Josef von Sternberg’s preposterously mesmerizing tale of mother love—runs the gamut from the glamorous heights of fame and success to the dilapidated depths of despair and ruin. Yet another melodramatic narrative of what Juliet Clark calls “the woman’s way” of upholding honor through dishonor, Magdalenian inferences still apply. This would be a great double bill with Emilio Fernández’s Víctimas del pecado (1951). What a mother won’t do for her child, including another john. Again, I have to wonder how influenced “El Indio” was by Sternberg’s melodramatics?
As Judy Bloch nails it in her capsule for Pfa’s ongoing Sternberg retrospective: “It’s not surprising that the French Surrealists gave themselves over to Sternberg’s films with Marlene Dietrich, who for them embodied the disruptive force. Marlene singing ‘Hot Voodoo’ in a gorilla suit brings the exotic home in Sternberg’s only Dietrich film set in America.
As Judy Bloch nails it in her capsule for Pfa’s ongoing Sternberg retrospective: “It’s not surprising that the French Surrealists gave themselves over to Sternberg’s films with Marlene Dietrich, who for them embodied the disruptive force. Marlene singing ‘Hot Voodoo’ in a gorilla suit brings the exotic home in Sternberg’s only Dietrich film set in America.
- 2/16/2009
- by Michael Guillen
- Screen Anarchy
Screened
Venice International Film Festival
VENICE, Italy -- With its equal-opportunity full-frontal nudity, frank portrayal of human sexuality and unabashed depiction of brother-sister incest, it is difficult to see this latest film from Italian director Bernardo Bertolucci receiving anything but an NC-17 rating, which will drastically reduce boxoffice potential. Those viewers who have no quarrel with the graphic images may well scratch their heads and wonder just what the director of such revered, if controversial, works as Last Tango in Paris and The Conformist thought he was communicating with this story of three young people living in Paris during the spring of 1968. Certainly his avowed intention of creating a film that captures the unbridled spirit of the era -- when political, cultural and moral boundaries were being stretched and redefined -- seems undercut by the particular story he chooses to tell. Based on Gilbert Adair's 1988 novel The Holy Innocents, this film can expect strong numbers in a few select urban areas but wash out everywhere else. Overseas boxoffice should be better, reflecting the less puritanical attitudes of Europeans.
Left alone in their Paris apartment while their parents go on a month's vacation, 19-ish twins Theo (Louis Garrel) and Isabelle (newcomer Eva Green) invite a young American student they have just met, 20-year-old Matthew (Michael Pitt) to move in with them. All three are passionate about cinema (they meet at the Cinematheque Francaise) and continually test one another's knowledge of films. They also indulge in sexual and mind games, pushing to see how far the other will go.
Matthew, raised in a typically middle-class American suburban home, is uncomfortable with how physically and sexually uninhibited the siblings are with each other and increasingly troubled by their close emotional and sexual bond. Completely smitten with the beautiful Isabelle, however, he eventually enters into their games while still cautioning them about what he considers their unnatural relationship.
While the three are holed up in the apartment, the streets of Paris are erupting outside. Peaceful protests, which begin when the government fires Henri Langlois as director of the cinematheque, prove to be the precursor of violent political riots in May. Theo mouths revolutionary rhetoric but, as Matthew points out, if he really believed, he'd be out there with the protesters.
Tensions inside the apartment rise as Theo and Matthew compete for Isabelle's attention, and Isabelle battles her own conflicts concerning her romantic feelings toward her brother. The trio's moral and emotional regression is mirrored in their neglect of their physical surroundings, which turns into a pigsty. The sense of escalating decay recalls Jean Cocteau's Les Enfants Terribles.
Certainly the director brings in many other film references by intercutting the action with actual clips from some of the characters' favorite movies, including Queen Christina, Blonde Venus, Band-a-Part and Top Hat. Characters are always quoting and acting out scenes from these movies, and the film easily could be considered a valentine to cinema were it not for the unusual subject matter that surrounds it.
Politically and historically, spring 1968 marked a momentous turning point throughout Europe as political dissent spilled into the streets and the younger generation found new expression in a melding of art, cinema, politics, rock 'n' roll, philosophy and drugs. But if Bertolucci is trying to capture that spirit of rebellion, experimentation and hope, he picks the wrong story. The protesters hoped to transform society for the better. Theo and Isabelle are narcissists without commitment to anything outside themselves.
The music in the film is terrific, the best 1968 had to offer: Janis Joplin, the Doors and Jimi Hendrix. In her screen debut, Green will undoubtedly be the talk of the film. An extraordinary beauty, she has the overripe sexiness, melancholy and destructive air of a young Jeanne Moreau. She even looks like Moreau, albeit with more delicate features. Her acting also is impressive
she and Garrel share a remarkable sense of ease and emotional intimacy that proves 100% believable. The appropriately sullen Garrel proves uninteresting overall, however. Pitt acquits himself well.
The Dreamers' perverse subject matter will no doubt raise objections, but the film's real failure is that neither the story nor the characters capture the zeitgeist that Bertolucci theoretically set out to celebrate.
THE DREAMERS
Fox Searchlight Pictures
A Recorded Picture Company, Peninsular Films, Fiction Co-Production
Credits:
Director: Bernardo Bertolucci
Screenwriter: Gilbert Adair, based on his novel The Holy Innocents
Producer: Jeremy Thomas
Director of photography: Fabio Cianchetti
Production designer: Jean Rabasse
Co-producer: John Bernard
Costume designer: Louise Stjernsward
Editor: Jacopo Quadri
Cast:
Matthew: Michael Pitt
Isabelle: Eva Green
Theo: Louis Garrel
Running time -- 118 minutes
No MPAA rating...
Venice International Film Festival
VENICE, Italy -- With its equal-opportunity full-frontal nudity, frank portrayal of human sexuality and unabashed depiction of brother-sister incest, it is difficult to see this latest film from Italian director Bernardo Bertolucci receiving anything but an NC-17 rating, which will drastically reduce boxoffice potential. Those viewers who have no quarrel with the graphic images may well scratch their heads and wonder just what the director of such revered, if controversial, works as Last Tango in Paris and The Conformist thought he was communicating with this story of three young people living in Paris during the spring of 1968. Certainly his avowed intention of creating a film that captures the unbridled spirit of the era -- when political, cultural and moral boundaries were being stretched and redefined -- seems undercut by the particular story he chooses to tell. Based on Gilbert Adair's 1988 novel The Holy Innocents, this film can expect strong numbers in a few select urban areas but wash out everywhere else. Overseas boxoffice should be better, reflecting the less puritanical attitudes of Europeans.
Left alone in their Paris apartment while their parents go on a month's vacation, 19-ish twins Theo (Louis Garrel) and Isabelle (newcomer Eva Green) invite a young American student they have just met, 20-year-old Matthew (Michael Pitt) to move in with them. All three are passionate about cinema (they meet at the Cinematheque Francaise) and continually test one another's knowledge of films. They also indulge in sexual and mind games, pushing to see how far the other will go.
Matthew, raised in a typically middle-class American suburban home, is uncomfortable with how physically and sexually uninhibited the siblings are with each other and increasingly troubled by their close emotional and sexual bond. Completely smitten with the beautiful Isabelle, however, he eventually enters into their games while still cautioning them about what he considers their unnatural relationship.
While the three are holed up in the apartment, the streets of Paris are erupting outside. Peaceful protests, which begin when the government fires Henri Langlois as director of the cinematheque, prove to be the precursor of violent political riots in May. Theo mouths revolutionary rhetoric but, as Matthew points out, if he really believed, he'd be out there with the protesters.
Tensions inside the apartment rise as Theo and Matthew compete for Isabelle's attention, and Isabelle battles her own conflicts concerning her romantic feelings toward her brother. The trio's moral and emotional regression is mirrored in their neglect of their physical surroundings, which turns into a pigsty. The sense of escalating decay recalls Jean Cocteau's Les Enfants Terribles.
Certainly the director brings in many other film references by intercutting the action with actual clips from some of the characters' favorite movies, including Queen Christina, Blonde Venus, Band-a-Part and Top Hat. Characters are always quoting and acting out scenes from these movies, and the film easily could be considered a valentine to cinema were it not for the unusual subject matter that surrounds it.
Politically and historically, spring 1968 marked a momentous turning point throughout Europe as political dissent spilled into the streets and the younger generation found new expression in a melding of art, cinema, politics, rock 'n' roll, philosophy and drugs. But if Bertolucci is trying to capture that spirit of rebellion, experimentation and hope, he picks the wrong story. The protesters hoped to transform society for the better. Theo and Isabelle are narcissists without commitment to anything outside themselves.
The music in the film is terrific, the best 1968 had to offer: Janis Joplin, the Doors and Jimi Hendrix. In her screen debut, Green will undoubtedly be the talk of the film. An extraordinary beauty, she has the overripe sexiness, melancholy and destructive air of a young Jeanne Moreau. She even looks like Moreau, albeit with more delicate features. Her acting also is impressive
she and Garrel share a remarkable sense of ease and emotional intimacy that proves 100% believable. The appropriately sullen Garrel proves uninteresting overall, however. Pitt acquits himself well.
The Dreamers' perverse subject matter will no doubt raise objections, but the film's real failure is that neither the story nor the characters capture the zeitgeist that Bertolucci theoretically set out to celebrate.
THE DREAMERS
Fox Searchlight Pictures
A Recorded Picture Company, Peninsular Films, Fiction Co-Production
Credits:
Director: Bernardo Bertolucci
Screenwriter: Gilbert Adair, based on his novel The Holy Innocents
Producer: Jeremy Thomas
Director of photography: Fabio Cianchetti
Production designer: Jean Rabasse
Co-producer: John Bernard
Costume designer: Louise Stjernsward
Editor: Jacopo Quadri
Cast:
Matthew: Michael Pitt
Isabelle: Eva Green
Theo: Louis Garrel
Running time -- 118 minutes
No MPAA rating...
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