Pang Ho-cheung’s romantic comedy will have its world premiere at the event.
Pang Ho-cheung’s Love Off The Cuff, the third installment in the Hong Kong filmmaker’s romantic comedy series, will receive its world premiere as the opening film of this year’s Hong Kong International Film Festival (Hkiff).
Miriam Yeung and Shawn Yue are resuming their roles as star-crossed lovers Cherie and Jimmy in the film, which follows Love In A Puff (2010) and Love In The Buff (2012). In this third episode, set in Hong Kong and Taipei, the couple’s relationship is tested when Jimmy’s childhood friend asks him to donate sperm for her artificial insemination.
Hkiff also recently announced that it will screen all seven of late Taiwanese filmmaker Edward Yang’s films in a section entitled ‘Edward Yang, 10-year Commemoration’.
The festival will also present digitally restored versions of four classics directed by French auteur Robert Bresson and three from Filipino...
Pang Ho-cheung’s Love Off The Cuff, the third installment in the Hong Kong filmmaker’s romantic comedy series, will receive its world premiere as the opening film of this year’s Hong Kong International Film Festival (Hkiff).
Miriam Yeung and Shawn Yue are resuming their roles as star-crossed lovers Cherie and Jimmy in the film, which follows Love In A Puff (2010) and Love In The Buff (2012). In this third episode, set in Hong Kong and Taipei, the couple’s relationship is tested when Jimmy’s childhood friend asks him to donate sperm for her artificial insemination.
Hkiff also recently announced that it will screen all seven of late Taiwanese filmmaker Edward Yang’s films in a section entitled ‘Edward Yang, 10-year Commemoration’.
The festival will also present digitally restored versions of four classics directed by French auteur Robert Bresson and three from Filipino...
- 3/3/2017
- by lizshackleton@gmail.com (Liz Shackleton)
- ScreenDaily
A Gentle Creature
Director: Sergei Loznitsa
Writer: Sergei Loznitsa
Having completed three documentaries, plus several documentary shorts since his 2012 sophomore narrative feature In the Fog, Ukrainian director Sergei Loznitsa has at last commenced with a third fiction project, A Gentle Creature, adapted from a short story by Fyodor Dostoevsky, the same story which previously inspired notable films by Robert Bresson (A Gentle Woman, 1969), Aleksandr Borisov (Krotkaya, 1960).
Continue reading...
Director: Sergei Loznitsa
Writer: Sergei Loznitsa
Having completed three documentaries, plus several documentary shorts since his 2012 sophomore narrative feature In the Fog, Ukrainian director Sergei Loznitsa has at last commenced with a third fiction project, A Gentle Creature, adapted from a short story by Fyodor Dostoevsky, the same story which previously inspired notable films by Robert Bresson (A Gentle Woman, 1969), Aleksandr Borisov (Krotkaya, 1960).
Continue reading...
- 1/9/2017
- by Nicholas Bell
- IONCINEMA.com
A review of "The Devil, Probably" by Mireille Latil-Le-Dantec. Originally published in Issue 77, July-August 1977, of Cinématographe. Translation by Ted Fendt. Thanks to Marie-Pierre Duhamel.
"I challenge you all now, all you atheists. With what will you save the world, and where have you found a normal line of progress for it, you men of science, of co-operation, of labour-wage, and all the rest of it?
With credit? What's credit? Where will credit take you? [...] Without recognizing any moral basis except the satisfaction of individual egoism and material necessity! [...] It's a law, that's true; but it's no more normal than the law of destruction, or even self-destruction. [...] Yes, sir, the law of self-destruction and the law of self-preservation are equally strong in humanity! The devil has equal dominion over humanity till the limit of time which we know not. You laugh? You don't believe in the devil? Disbelief in the devil is a French idea,...
"I challenge you all now, all you atheists. With what will you save the world, and where have you found a normal line of progress for it, you men of science, of co-operation, of labour-wage, and all the rest of it?
With credit? What's credit? Where will credit take you? [...] Without recognizing any moral basis except the satisfaction of individual egoism and material necessity! [...] It's a law, that's true; but it's no more normal than the law of destruction, or even self-destruction. [...] Yes, sir, the law of self-destruction and the law of self-preservation are equally strong in humanity! The devil has equal dominion over humanity till the limit of time which we know not. You laugh? You don't believe in the devil? Disbelief in the devil is a French idea,...
- 3/31/2014
- by Ted Fendt
- MUBI
“We are still coming to terms with Robert Bresson, and the peculiar power and beauty of his films,” Martin Scorsese said in the 2010 book “A Passion For Film,” describing the often overlooked French filmmaker as “one of the cinema’s greatest artists.”
But while he may be revered by some as the finest French filmmaker bar Jean Renoir, outside hardcore cinephile circles he and his films are virtually unknown (perhaps regarded as too opaque or nebulous). Just consider the fact that almost every definitive book on the elusive director was published during the aughts to feel the full truth of Scorsese's statement about how we're still in the process of appreciating and understanding his life and work. Even Bresson’s actual birthdate is contested, adding further the ambiguities surrounding the director.
“Make visible what, without you, might perhaps never have been seen,” the meticulous Bresson once famously said, hinting at...
But while he may be revered by some as the finest French filmmaker bar Jean Renoir, outside hardcore cinephile circles he and his films are virtually unknown (perhaps regarded as too opaque or nebulous). Just consider the fact that almost every definitive book on the elusive director was published during the aughts to feel the full truth of Scorsese's statement about how we're still in the process of appreciating and understanding his life and work. Even Bresson’s actual birthdate is contested, adding further the ambiguities surrounding the director.
“Make visible what, without you, might perhaps never have been seen,” the meticulous Bresson once famously said, hinting at...
- 4/18/2012
- by The Playlist
- The Playlist
Robert Bresson: The Over-Plenty of Life is a series we've been running in conjunction with the complete retrospective of Bresson's work that'll be touring North America through May. I thought I'd supplement Ignatiy Vishnevetsky's essays, Daniel Kasman's observations and Adrian Curry's collection of posters with a roundup of pointers to pieces on Bresson that have appeared over the past month or two. One of the occasions of the series, as I mentioned in the entry on the initial announcement (with its basic schedule of cities and dates) is the publication of an expanded and illustrated edition of series curator James Quandt's collection, Robert Bresson (Revised), so let's open this go round with notes on another book, Tony Pipolo's Robert Bresson: A Passion for Film. Jonathan Rosenbaum's posted his review for the Summer 2010 issue of Cineaste, in which he calls it…
one of the most careful and...
one of the most careful and...
- 2/7/2012
- MUBI
In conjunction with La Furia Umana, Notebook is very happy to present Ted Fendt's original English translation of Luc Moullet's "Le masque et la part de Dieu," on the films of Eric Rohmer. Moullet's original French can be found at La Furia Umana.
Cecil summed up the difference between him and his brother, William DeMille, like this: “I show a thousand camels and you show one camel and you psychoanalyze it.” Eric Rohmer is a lot more like William than Cecil, minus Freud.
What is fascinating, foremost, in his work is his obstinacy to not go beyond his only or main subject, often summed up, in a somewhat misleading way, by its title: Béatrice Romand wants a good marriage, or, at least, to help her friend have one (A Tale of Autumn), Brialy wants to caress Claire’s Knee (meaning, to be sure that she is practically consenting), Lucchini,...
Cecil summed up the difference between him and his brother, William DeMille, like this: “I show a thousand camels and you show one camel and you psychoanalyze it.” Eric Rohmer is a lot more like William than Cecil, minus Freud.
What is fascinating, foremost, in his work is his obstinacy to not go beyond his only or main subject, often summed up, in a somewhat misleading way, by its title: Béatrice Romand wants a good marriage, or, at least, to help her friend have one (A Tale of Autumn), Brialy wants to caress Claire’s Knee (meaning, to be sure that she is practically consenting), Lucchini,...
- 1/3/2012
- MUBI
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