Close-Up is a feature that spotlights films now playing on Mubi. Robert Flaherty's Moana with Sound (1926 / 1980) is playing August 30 - September 29, 2017 on Mubi in most countries around the world.Slowly, slowly, the tufunga taps his comb of bone needles into the young man’s lower back. His movements are practiced and precise, each tap marking the young man for the rest of his days. The young man winces in agony, sweat pouring down his face as his relatives wipe away the blood and excess ink with tapa cloth. A witch-woman stokes a fire and burns candlenut stalks to make more soot for the tufunga’s ink. The infernal tapping continues, now on his upper back, now on his flanks, now on his knees—the most painful part of the ceremony. Outside the hut, a crowd of men dance and sing. “Courage to Moana,” they cry, “Courage to Moana!
- 8/30/2017
- MUBI
The Great FortuneNot many festivals grant you the privilege of being personally welcomed by its director with a bottle of home-brewed liquor, not very many set that as their standard of hospitality: Beldocs, the Belgrade International Documentary Film Festival, is one of them. The composite beauty and disinterested generosity of the city and its people are the ideal environment for a festival genuinely close to its etymological roots, that of festivity, of an uplifting moment of reciprocal discovery and exchange. Big enough to explore, small enough to elaborate, Beldocs is what a festival is meant to be: a place where films are not only consumed but also convivially dissected. The size and schedule of the festival, but most crucially its comradery dimension, allow for the kind of space cinema needs in order to be cultivated, not only watched. The constitutive elements of the seventh art in Beldocs coexist organically side by side,...
- 7/14/2016
- MUBI
Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Museum of the Moving Image
Koyaanisqatsi kicks off “See It Big! Documentary” on Friday. Saturday brings the follow-up, Powaqqatsi, as well as Robert Flaherty‘s Louisiana Story. Close out Reggio’s trilogy with a Sunday screening of Naqoyatsi.
Labyrinth screens on Sunday, but is currently listed as being sold-out.
Spectacle
You’ve probably heard about The...
Museum of the Moving Image
Koyaanisqatsi kicks off “See It Big! Documentary” on Friday. Saturday brings the follow-up, Powaqqatsi, as well as Robert Flaherty‘s Louisiana Story. Close out Reggio’s trilogy with a Sunday screening of Naqoyatsi.
Labyrinth screens on Sunday, but is currently listed as being sold-out.
Spectacle
You’ve probably heard about The...
- 1/29/2016
- by Nick Newman
- The Film Stage
Kino Lorber is proud to announce the acquisition of all North American rights to Les Blank & Gina Leibrecht‘s How To Smell A Rose: A Visit With Ricky Leacock In Normandy, a moving tribute by one cinema verité master to another.
Opening at New York’s Film Forum on Wednesday, August 12, 2015, How To Smell Of Rose: A Visit With Ricky Leacock In Normandy was co-directed by Les Blank and his longtime creative partner, Gina Leibrecht. How To Smell A Rose: A Visit With Ricky Leacock is the penultimate film directed by Les Blank, before he passed away on April 7, 2013.
During its theatrical run at Film Forum, How To Smell A Rose will be screened with the Leacock-Joyce Chopra classic, Happy Mother’S Day, on the 1963 birth of the Fischer quintuplets in Aberdeen, South Dakota. In further national theatrical engagements “Rose” will be presented with Les Blank’s now classic...
Opening at New York’s Film Forum on Wednesday, August 12, 2015, How To Smell Of Rose: A Visit With Ricky Leacock In Normandy was co-directed by Les Blank and his longtime creative partner, Gina Leibrecht. How To Smell A Rose: A Visit With Ricky Leacock is the penultimate film directed by Les Blank, before he passed away on April 7, 2013.
During its theatrical run at Film Forum, How To Smell A Rose will be screened with the Leacock-Joyce Chopra classic, Happy Mother’S Day, on the 1963 birth of the Fischer quintuplets in Aberdeen, South Dakota. In further national theatrical engagements “Rose” will be presented with Les Blank’s now classic...
- 7/22/2015
- by Michelle McCue
- WeAreMovieGeeks.com
By Scott Feinberg
The Hollywood Reporter
As discussed in another post earlier this month, only 20 Oscar nominations have ever been accorded to documentary features in categories other than the one designated for them. The most famous examples include “best writing, motion picture story” for Louisiana Story (1948), best film editing and best sound for Woodstock (1970), best film editing for Hoop Dreams (1994), best original song for An Inconvenient Truth (2006), best foreign language film for Waltz with Bashir (2008) and, most recently, best original song for Chasing Ice (2012).
Read the rest of this entry…...
The Hollywood Reporter
As discussed in another post earlier this month, only 20 Oscar nominations have ever been accorded to documentary features in categories other than the one designated for them. The most famous examples include “best writing, motion picture story” for Louisiana Story (1948), best film editing and best sound for Woodstock (1970), best film editing for Hoop Dreams (1994), best original song for An Inconvenient Truth (2006), best foreign language film for Waltz with Bashir (2008) and, most recently, best original song for Chasing Ice (2012).
Read the rest of this entry…...
- 11/23/2014
- by Anjelica Oswald
- Scott Feinberg
As discussed in another post earlier this month, only 20 Oscar nominations have ever been accorded to documentary features in categories other than the one designated for them. The most famous examples include "best writing, motion picture story" for Louisiana Story (1948), best film editing and best sound for Woodstock (1970), best film editing for Hoop Dreams (1994), best original song for An Inconvenient Truth (2006), best foreign language film for Waltz with Bashir (2008) and, most recently, best original song for Chasing Ice (2012). The nom for Chasing Ice, a call-to-action about global warming, went to the
read more...
read more...
- 11/22/2014
- by Scott Feinberg
- The Hollywood Reporter - Movie News
Sight & Sound magazine has announced the results of its latest critics' poll to decide the greatest film of all time. Philip French charts the history of the poll
In the early 1950s, the British Film Institute was transformed by Denis Forman and Gavin Lambert. Forman was appointed director of the BFI in 1948, and one year later, he invited Lambert to edit what Lambert recalled as "the institute's terminally boring magazine Sight & Sound and bring it back to life". Both left the institute in 1955, Forman to help create Granada TV, Lambert to become a Hollywood screenwriter and novelist, and by then the National Film Theatre had been established on the South Bank, and Sight & Sound had become one of the world's pre-eminent film journals.
Among Lambert's innovations was a worldwide poll of critics to vote each decade on the top 10 films of all time, an immense undertaking that utilises the resources...
In the early 1950s, the British Film Institute was transformed by Denis Forman and Gavin Lambert. Forman was appointed director of the BFI in 1948, and one year later, he invited Lambert to edit what Lambert recalled as "the institute's terminally boring magazine Sight & Sound and bring it back to life". Both left the institute in 1955, Forman to help create Granada TV, Lambert to become a Hollywood screenwriter and novelist, and by then the National Film Theatre had been established on the South Bank, and Sight & Sound had become one of the world's pre-eminent film journals.
Among Lambert's innovations was a worldwide poll of critics to vote each decade on the top 10 films of all time, an immense undertaking that utilises the resources...
- 8/6/2012
- by Philip French
- The Guardian - Film News
I fondly remember the glee I had at xeroxing from library archives a good chunk of Sight & Sound’s top favorite list back in 92′ when cinephilia officially took over me and with further research I learned that any year that ends in a “2″ meant that it was time to revisit the official order. Over the past three polls (80′s, 90′s and 00′s) Alfred Hitchcock’s 1958 classic progressively moved up the rankings making its way as announced today to the number one spot dislodging Orson Welles’ Citizen Kane. My prediction for 2022: Another Brit filmmaker will continue to make strides in the top ten list – Stanley Kubrick’s 2001: A Space Odyssey should move up several spots.
Based on 846 critics’ top-ten lists and a Directors’ poll of 358 entries it is Vertigo who ends a five decade reign of the iconic snow globe and the name “Rosebud”. If anythin the list inspires a long-lasting debate,...
Based on 846 critics’ top-ten lists and a Directors’ poll of 358 entries it is Vertigo who ends a five decade reign of the iconic snow globe and the name “Rosebud”. If anythin the list inspires a long-lasting debate,...
- 8/1/2012
- by Eric Lavallee
- IONCINEMA.com
Long-suffering readers will have read many times about my dislike of lists, especially lists of the best or worst movies in this or that category. For years they had value only in the minds of feature editors fretting that their movie critics had too much free time. ("For Thursday's food section, can you list the 10 funniest movies about pumpkin pie?") Now their value has shot way up with the use of slide shows, a diabolical time-waster designed to boost a web site's page visits.
In a field with much competition, Number One on my list of Most Shameless Lists has got to be Time mag's recent list of the "Best 140 Tweeters." How did the magazine present this? That's right, on 140 pages of a slideshow. Considering that the list had no meaning at all except as some hapless intern's grindwork, I'd say that was a bold masterstroke. I say so even though I was on it.
In a field with much competition, Number One on my list of Most Shameless Lists has got to be Time mag's recent list of the "Best 140 Tweeters." How did the magazine present this? That's right, on 140 pages of a slideshow. Considering that the list had no meaning at all except as some hapless intern's grindwork, I'd say that was a bold masterstroke. I say so even though I was on it.
- 4/6/2012
- by Roger Ebert
- blogs.suntimes.com/ebert
Richard Leacock, 1921-2011
The noted filmmaker Richard Leacock, best known as one of the pioneers of the “cinema verite”-style of documentary filmmaking–a more direct, realistic approach to the form–died on March 23. He was 89-years-old.
Though he directed some 20-plus feature films and shorts (including 1984’s Lulu in Berlin, a documentary on actress Louise Brooks, and the popular 1963 short Happy Mother’s Day about a woman who gives birth to quintuplets), Leacock is best known to DiscDish as the cinematographer of some of finest documentaries of the 1960s and 1970s, many of which he collaborated on with such well-known colleagues as D.A. Pennebaker (The War Room) and Albert & David Maysles (Grey Gardens).
Here’s a group of fine documentaries wherein the late Mr. Leacock was behind the camera as the director of photography, snagging each and every shot that served the real-life story each movie was telling.
Primary,...
The noted filmmaker Richard Leacock, best known as one of the pioneers of the “cinema verite”-style of documentary filmmaking–a more direct, realistic approach to the form–died on March 23. He was 89-years-old.
Though he directed some 20-plus feature films and shorts (including 1984’s Lulu in Berlin, a documentary on actress Louise Brooks, and the popular 1963 short Happy Mother’s Day about a woman who gives birth to quintuplets), Leacock is best known to DiscDish as the cinematographer of some of finest documentaries of the 1960s and 1970s, many of which he collaborated on with such well-known colleagues as D.A. Pennebaker (The War Room) and Albert & David Maysles (Grey Gardens).
Here’s a group of fine documentaries wherein the late Mr. Leacock was behind the camera as the director of photography, snagging each and every shot that served the real-life story each movie was telling.
Primary,...
- 3/26/2011
- by Laurence
- Disc Dish
Fine film-maker whose subjects ranged from Kennedy to Hendrix
If you remember the 1960s, you may well remember the documentary films shot by Richard Leacock, notably Monterey Pop (1968). This concert film, made in the summer of 1967 at a music festival in California, featured the Animals, Canned Heat, Otis Redding, Jimi Hendrix, Janis Joplin, the Mamas and the Papas, Jefferson Airplane, the Who and Ravi Shankar, among others. Leacock, who has died aged 89, was one of six cinematographers on the film – including its director, Da Pennebaker – and had already established himself as a leading figure in the "direct cinema" movement, the American version of cinéma vérité, which was characterised by filming events as they happen without interpretive editing or narration.
"I don't like being told things," Leacock said. "I like to observe." To this end, he was instrumental in perfecting a lightweight, handheld 16mm camera, synced to a quiet sound recorder,...
If you remember the 1960s, you may well remember the documentary films shot by Richard Leacock, notably Monterey Pop (1968). This concert film, made in the summer of 1967 at a music festival in California, featured the Animals, Canned Heat, Otis Redding, Jimi Hendrix, Janis Joplin, the Mamas and the Papas, Jefferson Airplane, the Who and Ravi Shankar, among others. Leacock, who has died aged 89, was one of six cinematographers on the film – including its director, Da Pennebaker – and had already established himself as a leading figure in the "direct cinema" movement, the American version of cinéma vérité, which was characterised by filming events as they happen without interpretive editing or narration.
"I don't like being told things," Leacock said. "I like to observe." To this end, he was instrumental in perfecting a lightweight, handheld 16mm camera, synced to a quiet sound recorder,...
- 3/25/2011
- by Ronald Bergan
- The Guardian - Film News
Documentary pathfinder Richard Leacock (1921-2011) passed away yesterday at the ripe age of 89. Readers are probably more familiar with the two documentary movements he helped refine, Direct Cinema and Cinéma Vérité, than his work on the Direct Cinema doc Primary (1960). Produced by former Life magazine editor and correspondent Robert Drew, shot by Leacock and Albert Maysles (whose work with his brother David include Gimmie Shelter and Grey Gardens) and edited by D.A. Pennebaker (the rock documentarian who brought us Don't Look Back, Monterey Pop, and Ziggy Stardust and the Spiders from Mars), Primary chronicled the 1960 Wisconsin Democratic Primary between John F. Kennedy and Hubert Humphrey. The joint forces of Drew, Maysles, Pennebaker, and Leacock on Primary, with the aid of mobile cameras, faster film stocks, and mobile sound equipment gave rise to the Direct Cinema movement.
Direct Cinema, often considered synonymous with Cinéma Vérité (they are very different, but that's...
Direct Cinema, often considered synonymous with Cinéma Vérité (they are very different, but that's...
- 3/24/2011
- by Drew Morton
Documentary pioneer Richard "Ricky" Leacock, considered a major force in the birth of modern non-fiction cinema, passed away yesterday in Paris at the age of 89. The London-born Leacock, whose list of collaborators included Robert Flaherty on "Louisiana Story" and D.A. Pennebaker, died peacefully at his home, according to a report posted on the Flaherty Seminar. The site also noted that Leacock recently completed a memoir, "The Feeling of Being ...
- 3/24/2011
- Indiewire
"Richard 'Ricky' Leacock, the London-born filmmaker whose work with Robert Drew and D.A/ Pennebaker would revolutionize and come to define a generation's view of documentary film, has died in Paris at the age of 89." So begins Aj Schnack's excellent entry, drawing on Leacock's own recollections posted at his "exceptional" site and including a couple of clips. "Reports of Leacock's death began to circulate on Twitter several hours ago and the French film site Allocine.com confirmed Leacock's passing. The Paris-based documentary festival Cinéma du Réel, which opens today, is planning to dedicate a portion of the festival to Leacock."
"As cinematographer, producer, director, and editor, Richard Leacock has been an important contributor to the development of the documentary film, specifically in cinéma verité, now often called direct cinema," Lillian Schiff has written for Film Reference, noting that "the lightweight 16-millimeter camera, handheld and synced to a quiet recorder, allows...
"As cinematographer, producer, director, and editor, Richard Leacock has been an important contributor to the development of the documentary film, specifically in cinéma verité, now often called direct cinema," Lillian Schiff has written for Film Reference, noting that "the lightweight 16-millimeter camera, handheld and synced to a quiet recorder, allows...
- 3/23/2011
- MUBI
Above: Zoulikha Bouabdellah's Al Attlal (Ruines), left, and Pierre Léon's À la barbe d'Ivan, right.
Nicole Brenez has curated two programs of new work from the French avant-garde for this year’s Rendezvous with French Cinema 2011 in New York; below she has offered her program notes in French. Program one (on Saturday) concentrates on filmmakers reappropriating images; program two (Sunday) is the new feature by Ange Leccia, Nuit bleue. Below, I’ve translated Brenez’s extended appreciation of Leccia and Nuit bleue; as usual, I’ve tried to stay faithful to the sound and rhythm of the original where possible. Beneath the translated extract you'll find the full article by Ms. Brenez in its original French. —David Phelps
***
…Although Ange Leccia has also practiced re-appropriating images (especially Jean Luc-Godard’s) in his installations and his films, Nuit bleuetakes up a different aesthetic vein, one rich with a long tradition of the French avant-garde.
Nicole Brenez has curated two programs of new work from the French avant-garde for this year’s Rendezvous with French Cinema 2011 in New York; below she has offered her program notes in French. Program one (on Saturday) concentrates on filmmakers reappropriating images; program two (Sunday) is the new feature by Ange Leccia, Nuit bleue. Below, I’ve translated Brenez’s extended appreciation of Leccia and Nuit bleue; as usual, I’ve tried to stay faithful to the sound and rhythm of the original where possible. Beneath the translated extract you'll find the full article by Ms. Brenez in its original French. —David Phelps
***
…Although Ange Leccia has also practiced re-appropriating images (especially Jean Luc-Godard’s) in his installations and his films, Nuit bleuetakes up a different aesthetic vein, one rich with a long tradition of the French avant-garde.
- 3/19/2011
- MUBI
Spend a day with Virgil Thomson-one of the most remarkable, influential and controversial artists in the history of contemporary American music. From his bed at the Chelsea Hotel in New York City, Thomson ran the world of music as chief music critic for the Herald Tribune. The "Father of American Music," Thomson paved the way for his contemporaries who included Aaron Copland, Paul Bowles, Igor Stravinsky, Mark Blitzstein, Ned Rorem and Leonard Bernstein, among many others. He was awarded the Pulitzer Prize for his score of the film Louisiana Story.
- 4/27/2009
- BroadwayWorld.com
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