For you cult cinema fans out there, I hope your wallets are ready for some serious damage, as there are a ton of great offerings coming home on November 14th, including the gorgeous limited edition Hellraiser Steelbook, The Paul Naschy Collection II, J.D.’s Revenge, and Arrow’s stunning Blu-ray set honoring one of horror’s true greats—George A. Romero—that features HD releases of Season of the Witch, There’s Always Vanilla, and The Crazies.
It’s a lesson worth remembering when thinking about contemporary cinema, in which pop entertainment earns instant praise, while the work most likely to endure a century from now a century from now goes relatively unrecognized in its time. French director Agnès Varda is the kind of filmmaker whose oeuvre is sure to stand the test of time — because it already has, holding up brilliantly since her 1955 feature debut, “La Pointe Courte,” about which Variety condescendingly wrote, “Main aspect of this film is that it was made for $20,000 by a 25-year-old girl.”
With her tiny seaside romance,
Like many filmmakers, Cattet and Forzani honed the aesthetic they’d use in their later films through their early shorts. Unlike all filmmakers,
HBO Nordic, which operates in Sweden, Norway, Finland and Denmark, has launched Turner’s brand-new children and family Ott service Toonix. Created by Turner Emea, Toonix is targeted at 3-12-year-olds and their families. The service will offer a mix of kids’ series and movies, including popular content from Turner’s Cartoon Network Studios and Warner Bros. Animation. Among its key shows are “The Amazing World of Gumball,” “Lego Ninjago,” “Looney Tunes” and “The Powerpuff Girls,” all of which are fully localized, with offerings in Swedish, Danish, Norwegian and Finnish. Toonix will be available for consumers on www.hbonordic.
Directed by Theo Anthony, and featuring a score by electronic music wizard Dan Deacon, the film — “working in the spirit of Chris Marker, Agnès Varda, and Werner Herzog” — takes a look at the complex relationship between rats and the city of Baltimore.
Continue reading Exclusive ‘Rat Film’ Trailer: Baltimore’s History Runs With Rodents at The Playlist.
Name: Jaime Grijalba Gómez
Twitter handle: @jaimegrijalba
Home: Santiago de Chile, Chile.
Cinematic area of expertise: Chilean cinema, film festivals, horror cinema
Best movie you’ve seen in 2017: El mar la mar
Favorite book (or piece of writing) about film: Bresson’s “Notes on the Cinematographer”
I’m taking part in the Locarno Critics Academy because… I want to think that criticism today still has a role that goes beyond those interested in film or in making them. It has a role in society, and I want to find it.
In my Escapes conversation with Michael Almereyda (Experimenter, starring Peter Sarsgaard) and Hampton Fancher (co-screenwriter of Blade Runner and Blade Runner 2049) we start out with Federico García Lorca, Bruce Conner, Philip K Dick and Chris Marker. Then we encounter a Jean-Pierre Léaud, Tina Sinatra, Michael Pfleghar (Romeo Und Julia 70) connection and next stop over at Thom Andersen's Los Angeles Plays Itself, Brian Kelly and Flipper, Skinningrove on photographer Chris Killip, Yasujiro Ozu's influence on Wim Wenders (Yuharu Atsuta in Tokyo-Ga) and Jim Jarmusch.
Hampton Fancher: "It's looking at my life through other people's eyes."
Michael Almereyda's approach in Escapes turns the idea of a biopic inside out. Clips from Hampton Fancher's television and movie performances mixed with those
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Tuesday, August 1
Tuesday’s Short + Feature: These Boots and Mystery Train
Music is at the heart of this program, which pairs a zany music video by Finnish master Aki Kaurismäki with a tune-filled career highlight from American independent-film pioneer Jim Jarmusch. In the 1993 These Boots, Kaurismäki’s band of pompadoured “Finnish Elvis” rockers, the Leningrad Cowboys, cover a Nancy Sinatra classic in their signature deadpan style. It’s the perfect prelude to Jarmusch’s 1989 Mystery Train, a homage to the King of Rock ‘n’ Roll and the musical legacy of Memphis, featuring appearances by Screamin’ Jay Hawkins and Joe Strummer.
Hitchcock and Altman play for “Welcome to Metrograph,” while Annie is scheduled.
Chris Marker’s films screen in a series, as does the work of Alain Tanner.
Film Society of Lincoln Center
The exhaustive, potentially exhausting “Scary Movies X” is underway.
The Edgar Wright-curated crime series and camp-centered cinema showings are ongoing.
[Read the whole post on screenanarchy.com...]
The Seasons In Quincy: Four Portraits Of John Berger co-director Colin MacCabe and photographer Adam Bartos will be joined by Ben Lerner and Experimenter director Michael Almereyda for an In Chris Marker's Studio panel discussion following the screenings of Marker's Cat Listening To Music (Chat Écoutant La Musique), Ouvroir, Second Life featuring Guillaume-en-Égypte and excerpts from Agnès Varda's Agnès De Ci De Là Varda at Metrograph in New York.
Michael Almereyda's Escapes subject Hampton Fancher at BAMcinemaFest Photo: Anne-Katrin Titze
Almereyda's two latest films, Marjorie Prime (starring Lois Smith, Jon Hamm, Geena Davis, Tim Robbins) and his Hampton Fancher documentary Escapes will be released this summer in the Us.
Marker's Sans Soleil, Tokyo Days and his Le Joli Mai with Pierre Lhomme will be shown as part of the series celebrating another cat man.
The Walerian Borowczyk Short Film Collection
1959-1984 / B&W and Color / 1:66, 1:78 and 1:37 flat Academy / 144 min. / Street Date April 25, 2017 / available through the Olive Films website / 24.95
Directed by Walerian Borowczyk
This release brings back memories of traveling short subject shows, usually several reels’ worth of experimental films that would tour college campuses. Even in High School I’d drag my girlfriend to the University of Riverside, where huge crowds looking for the ‘In’ place to be would stare in attention at hours of abstract visuals, expressing their approval
As a director and producer he’s followed suit with his 2nd film Rampart starring Woody Harrelson as an L.A. police officer with questionable motives, followed by a meditative look at homelessness with Richard Gere in Time Out of Mind.
For his latest movie, The Dinner, Moverman adapts Dutch author Herman Koch’s novel, which on the surface is about a dinner between two related couples with all the requisite food porn. As it progresses, it explores a variety of topics including mental illness and the battle of Gettysburg.
At the core of the film is Steve Coogan and Richard Gere playing brothers, the former a history professor,
Ashley Sabin’s documentaries have screened internationally in festivals and on television worldwide. Her vast body of work includes four recent “animal ethnography” films based in the world of donkeys.
“Do Donkeys Act?” will premiere at the 2017 Hot Docs Canadian International Documentary Festival on April 27. The film is co-directed by David Redmon.
W&H: Describe the film for us in your own words.
As: “Do Donkeys Act?” is an ethno-poetic animal fiction that takes that its playfully self-reflexive cues from documentarians Jean Rouch and Chris Marker.
Encouraging us to respect a major language barrier we might not otherwise consider — the mystery and intrigue of donkey utterances — “Do Donkeys Act?” invites us to “step into their shade and listen closely” as we attune to a series of dramatic performances in which we eavesdrop on donkeys speaking amongst themselves.
By reclaiming the donkey from the indignity of a centuries-old, master-slave relationship — in which the dominant image of the donkey has been negative and related to stubbornness, jackassery, etc. — “Do Donkeys Act?” elevates a denigrated and degraded beast to the role of lead actor and performance artist. To paraphrase performance artist Marina Abramović, the donkey is present.
W&H: What drew you to this story?
As: We focused our lens and sound recorder on donkeys because of their bray. Late one night, we listened to a YouTube video of a donkey braying, and at that point we knew we had to make a film. The sound is musical and enchanting. I was pregnant with our first child, so it seemed like the kind of film on which we could embark.
The movie is about the phenomenology of being with the expressive donkeys. What surprised us, though, is how intuitive and empathic they are.
Turns out, we didn’t premiere the film until we had our second child! Sometimes, these documentaries take a while to simmer.
W&H: What do you want people to think about when they are leaving the theater?
As: “Do Donkeys Act?” subtly subverts the notion of the “dumb beast.” It captures donkeys communicating emotionally with each other in the midst of healing from human cruelty and neglect.
It’s really about being present with these beautiful creatures and experiencing their sentience.
W&H: What was the biggest challenge in making the film?
As: We have two wonderful producers, Deborah Smith and Dale Smith, who put in the first funds. They believe in us and the work we do, which is such a gift. Then my co-director, David Redmon, secured a Leverhulme Institute Grant in the UK, which allowed him to finish his book, publish articles on donkeys, and complete the movie. The rest was self-financed.
We’ve always worked in a way whereby we produce work, distribute it, and then use the funds from distribution to make the next piece. This means we had to work at a fast rate. This has since changed, as we have two children. We’re currently working on a new model.
W&H: What does it mean for you to have your film play at Hot Docs?
As: We used to live in Montreal, and, in fact, we filmed at a donkey sanctuary near Toronto in Guelph, Canada.
It is a real pleasure to return and share “Do Donkeys Act?” with a Canadian audience that has a passion for documentary.
W&H: What’s the best and worst advice you’ve received?
As: Best advice: Cut on motion. This is an interesting way of thinking about editing. People, objects, landscapes, and donkeys are constantly in flux.
Worst advice: Use professional lighting. I don’t think that person understood our filmmaking style at all.
W&H: What advice do you have for other female directors?
As: I feel fortunate to have found a wonderful partner. We have similar sensibilities. We also disagree enough to allow the filmmaking process to be challenging and interesting.
Editing is a lonely process, so if you can find good collaborators, it can help the film and the process.
W&H: Name your favorite woman-directed film and why.
As: It’s a tie between Kelly Reichardt’s “Old Joy” and Agnes Varda’s “The Gleaners and I.” Both have a beautiful simplicity to their narrative. They are playful, and I can feel the hands of the creator. The maker feels resourceful and creative.
They aren’t perfect films, but something about their imperfections also attracts me.
W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.
As: I think it’s important to encourage women filmmakers, as well as other daring makers and new voices.
After having two children, a new issue has come to my attention: the lack of childcare at film festivals. How can a family of filmmakers fully participate without some childcare help? I think if this issue changes the division of labor between both women and men everyone would benefit greatly.
Hot Docs 2017 Women Directors: Meet Ashley Sabin — “Do Donkeys Act?” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
“This year at Doc/Fest we have our most urgent and loudest call to action to join the groundswell movements of resistance and change, where we celebrate those who disobey and resist to shape the future global narrative,” said Liz McIntyre, the festival’s CEO and director. “We’re stepping into the early scenes of a tragicomic new world story.”
Britain’s leading documentary festival, Sheffield Doc/Fest runs from June 9-14. Its official program launch will be on May 3,
Marking the 50th anniversary of Britain’s landmark Sexual Offenses Act, which decriminalized private homosexual acts in England and Wales, “Queerama” will be followed by a live performance by U.S. singer-songwriter John Grant, whose music features in the film. The documentary,
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