We at Mubi think that celebrating the films of 2010 should be a celebration of film viewing in 2010. Since all film and video is "old" one way or another, we present Out of a Past, a small (re-) collection of some of our favorite of 2010's retrospective viewings.
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In chronological order, and chosen rather arbitrarily:
The Norrtull Gang (Per Lindberg, 1923). An extraordinary experiment in importing literature into cinema, a confirmation of Edgardo Cozarinsky's lonely advocacy of director Per Lindberg, and a major work that has slipped through the cracks of film history.
The Stranger Within a Woman (Mikio Naruse, 1966), pictured above. How is it that Naruse and Chabrol, two of the cinema's greatest directors, could have faithfully adapted the same novel (Eduard Atiyah's 1951 The Thin Line, filmed by Chabrol in 1971 as Just Before Nightfall) within five years of each other without film scholarship having noted it? One of the most...
***
In chronological order, and chosen rather arbitrarily:
The Norrtull Gang (Per Lindberg, 1923). An extraordinary experiment in importing literature into cinema, a confirmation of Edgardo Cozarinsky's lonely advocacy of director Per Lindberg, and a major work that has slipped through the cracks of film history.
The Stranger Within a Woman (Mikio Naruse, 1966), pictured above. How is it that Naruse and Chabrol, two of the cinema's greatest directors, could have faithfully adapted the same novel (Eduard Atiyah's 1951 The Thin Line, filmed by Chabrol in 1971 as Just Before Nightfall) within five years of each other without film scholarship having noted it? One of the most...
- 1/7/2011
- MUBI
Photo courtesy of Helene Bamberger.
New York theatergoers have had opportunity to see eleven rare films by French director Jacques Doillon in the last twelve months: mostly due to the tireless efforts of Marie Losier at the French Institute/Alliance Française, with a few assists from the programming team at the Brooklyn Academy of Music. It's clear at this point that English-language film scholarship is completely in the dark about Doillon: the films with some small American reputation or distribution are no better or worse than the ones we've never heard of. The latest case in point is Doillon's dazzling 1992 Amoureuse, which screened at Fiaf on February 9 in an ongoing series devoted to Charlotte Gainsbourg.
The basic idea of Amoureuse couldn't be simpler: a love triangle, period. Marie (Gainsbourg), committed to her boyfriend Antoine (Thomas Langmann), does a 95%-effective job of resisting the ardent courtship of a filmmaker (Yvan Attal...
New York theatergoers have had opportunity to see eleven rare films by French director Jacques Doillon in the last twelve months: mostly due to the tireless efforts of Marie Losier at the French Institute/Alliance Française, with a few assists from the programming team at the Brooklyn Academy of Music. It's clear at this point that English-language film scholarship is completely in the dark about Doillon: the films with some small American reputation or distribution are no better or worse than the ones we've never heard of. The latest case in point is Doillon's dazzling 1992 Amoureuse, which screened at Fiaf on February 9 in an ongoing series devoted to Charlotte Gainsbourg.
The basic idea of Amoureuse couldn't be simpler: a love triangle, period. Marie (Gainsbourg), committed to her boyfriend Antoine (Thomas Langmann), does a 95%-effective job of resisting the ardent courtship of a filmmaker (Yvan Attal...
- 2/21/2010
- MUBI
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