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Canon Of Film: ‘Paris, Texas’

This week, we will be looking at Wim Wenders‘ classic, ‘Paris, Texas‘ in honor of Harry Dean Stanton, who recently passed. For the genesis of Canon Of Film, you can click here.

Paris, Texas (1984)

Director: Wim Wenders

Screenplay: Sam Shepard, adapted by L.M. Kit Carson

As much as I admire the leader of the New German cinema movement of the sixties and seventies, R.W. Fassbinder, and as much as I admire, probably the best and most important director in that movement Werner Herzog, if I actually had to pick a favorite New German Director, and one of my favorite directors of all-time, it’d have to be Wim Wenders. I rank his film ‘Wings of Desire‘ among the Ten best films ever made, and all his films–even his less-than-stellar ones–all have this intuit sense to them. It’s not empathy; it’s almost spiritual. While Herzog is constantly
See full article at Age of the Nerd »

Toronto ‘17’: Visionary Works Headline Tiff ‘17’s Platform Slate

Toronto ‘17’: Visionary Works Headline Tiff ‘17’s Platform Slate
by StaffDirectors’ cinema, now: Tiff’s three-year-old Platform program returns for 2017 with more original voices and visionary films.

Last year, Platform included celebrated works such as William Oldroyd’s Lady Macbeth — currently playing at Tiff Bell Lightbox — Pablo Larraín’s Jackie, and Barry Jenkins’ Academy Award Best Picture winner, Moonlight. The 12 films in this year’s programme are another showcase for the artistry of a group of bold, dynamic voices in contemporary cinema.

Sweet CountryIf You Saw His Heart

This year’s lineup presents 12 films from eight countries on five continents. All selected films will compete for the Platform Prize, to be awarded by a jury made up of award-winning filmmakers Chen Kaige, Małgorzata Szumowska, and Wim Wenders.

The program will open with the world premiere of The Death of Stalin, from award-winning director-writer Armando Iannucci (In the Loop, Veep). The historical epic follows the final days leading up to the Soviet dictator’s death.
See full article at Sydney's Buzz »

Viceland Announces New TV Show Orders and Renewals

  • TVSeriesFinale
Viceland has announced three new TV series. The Payday TV show just premiered last Friday. In addition, Big Night Out and Bong Appétit premiere in December. Get the scoop on these new series, after the jump.The cable channel has also renewed Kings of the Road for a second season, as well as Weediquette, for a third. Learn more from this Viceland press release.Read More…
See full article at TVSeriesFinale »

Viceland Launches Three New Series, Renews ‘Kings of the Road,’ ‘Weediquette’

Viceland, the newest channel from Vice Media and A+E Networks, will premiere three new series by the end of the year — “Payday,” followed by “Big Night Out” and “Bong Appétit.”

DirecTV is also expanding distribution of Viceland to be included in its Select, Entertainment and Choice packages, as well as the entry-level package on DirecTV Now when it launches.

“Payday,” which just had its debut on the network, follows “four 20-somethings over the course of a single pay-period to see how they live, spend, struggle, and thrive, tracing the fortunes of this emerging generation,” according to the network. The series airs Fridays.

Big Night Out” follows Vice U.K.’s Clive Martin as he travels the globe and discovers and experiences rave culture around the world. The show premieres Dec. 14.

The following night on Dec.15, “Bong Appétit,” will premiere hosted by Vice’s Abdullah Saeed. The show explores the “making and consumption of high-end cannabis-infused foods
See full article at Variety - TV News »

‘The Beautiful Days Of Aranjuez’ Trailer And Clips: First Look at Wim Wenders’ Divisive Film

  • Indiewire
‘The Beautiful Days Of Aranjuez’ Trailer And Clips: First Look at Wim Wenders’ Divisive Film
Wim Wenders’ “The Beautiful Days of Aranjuez” has received mostly negative reviews on this year’s fall festival circuit. IndieWire’s own Ben Croll gave the film a D grade and said that it’s “ploddingly, achingly dull,” and other reviews have described it as “inert and exasperatingly supercilious,” “prettily sunlit but otherwise insufferable,” and “a literal representation of how creatively bankrupt Wim Wenders has become.” An adaptation of Peter Handke’s two-hander play by the same name, the film features a conversation between a man (Reda Kateb) and a woman (Sophie Semin) as they discuss their childhoods, memories, sexual experiences, and more. Watch a trailer and clips from the film below.

Read More: The Essentials: The 10 Best Wim Wenders Films

Wenders has made plenty of acclaimed films over the course of his four-decade long career. His Road Movie trilogy – “Alice in the Cities,” “The Wrong Move,” “Kings of the Road
See full article at Indiewire »

New to Streaming: ’10 Cloverfield Lane,’ Wim Wenders Road Trilogy, ‘Eternal Sunshine,’ and More

With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit the interwebs. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon Instant Video, and more (note: U.S. only). Check out our rundown for this week’s selections below.

10 Cloverfield Lane (Dan Trachtenberg)

Forget the Cloverfield connection. The actors who were in this film didn’t even know what the title was until moments before the first trailer dropped. Producer J.J. Abrams used that branding as part of the wrapping for its promotional mystery box, but the movie stands perfectly alone from 2008’s found-footage monster picture. Hell, 10 Cloverfield Lane perhaps doesn’t even take place
See full article at The Film Stage »

Wim Wenders: The Road Trilogy

A major talent of the New German Cinema finds his footing out on the open highway, in a trio of intensely creative pictures that capture the pace and feel of living off the beaten path. All three star Rüdiger Vogler, an actor who could be director Wim Wenders' alter ego. Wim Wenders' The Road Trilogy Blu-ray The Criterion Collection 813 1974-1976 / B&W and Color / 1:66 widescreen / 113, 104, 176 min. / available through The Criterion Collection / Street Date May 30, 2016 / 99.95 Starring Rüdiger Vogler, Lisa Kreuzer, Yetta Rottländer; Hannah Schygulla, Nasstasja Kinski, Hans Christian Blech, Ivan Desny; Robert Zischler. Cinematography Robby Müller, Martin Schäfer Film Editor Peter Przygodda, Barbara von Weltershausen Original Music Can, Jürgen Knieper, Axel Linstädt. Directed by Wim Wenders

Reviewed by Glenn Erickson

This morning I 'fessed up to never having seen David Lynch's Lost Highway. Now I get to say that until now I've never seen Wim Wenders'
See full article at Trailers from Hell »

Hof Film Days founder Heinz Badewitz dies at 74

  • ScreenDaily
Hof Film Days founder Heinz Badewitz dies at 74
World’s second longest-serving film festival director died last week while attending Graz film festival.

Filmmakers in Germany and beyond are mourning the passing of Heinz Badewitz, the founder of the Hof Film Days, who died unexpectedly last week at the age of 74 whilst attending last week’s Diagonale - Festival of Austrian Film in Graz.

Badewitz was the world’s second longest-serving film festival director after Chicago’s Michael Kutza (who launched his festival in 1964) and was planning Hof’s 50th anniversary in October.

Hailing from Hof in Northern Franconia, Badewitz had moved to Munich in the early 1960s to train as a cameraman and soon became part of the Munich film scene, later working as location manager on such films as Wim WendersKings Of The Road and The American Friend, and assistant director for Bob Fosse’s Cabaret and Norman Jewison’s Rollerball.

In addition, he was involved in the selection of German films for
See full article at ScreenDaily »

Wim Wenders Road Trilogy, Altman's 'The Player,' Nicholas Ray's 'In A Lonely Place,' And More Hit Criterion In May

  • The Playlist
It's time to start budgeting for the next wave of Criterion releases. The boutique home-video label have unveiled their slate for May, and it's even more impressive than usual, with some true treats for cinema buffs. So you might want to start clearing some space on your shelves. The big attraction of the month is the release of Wim Wenders' Road Trilogy. Comprised of "Alice In The Cities," "Wrong Move," and "Kings Of The Road," these are a terrific trio of early works by the director, and for those only familiar with his more recent films, they may be surprised by their looseness and how much different in tone they are. Criterion will be bulking up the box set with shorts "Same Player Shoots Again" and "Silver City Revisited," plus audio commentaries, interviews, and more. Read More: The Essentials: The 10 Best Wim Wenders Films Shifting gears, Robert Altman's
See full article at The Playlist »

In a Lonely Place: On Wim Wenders’ Road Movie Trilogy

In his 1969 short film 3 American LP’s, the 24-year-old Wim Wenders, in the kind of feat of earnestness that can befit a young man, attempts to match his two greatest interests” America’s landscapes and its rock-and-roll music. If we’re to pick perhaps the most endearing eye-roller from this “rockist” mission statement, one can look no further than Wenders describing a Creedence Clearwater Revival album as being “like chocolate.”

But this isn’t necessarily an atypical moment in his filmography, as Wenders has always skirted the line of, for lack of a better word, corniness — if not just telegraphing his influences to at-times-obnoxious degrees, also with a kind of sentimentality both formally and politically speaking. Consider Wings of Desire‘s glossy look, which could so easily be reconfigured into a perfume-commercial aesthetic, or even just the title of one of his later, forgotten films; The End of Violence.

Yet
See full article at The Film Stage »

Wacky New Years Drawing Hints At The Criterion Collection’s 2016 Line-Up

  • CriterionCast
Our annual New Years present from the Criterion Collection has come one day early this year!

As usual, the Criterion Collection New Years Drawing from Jason Polan teases at a number of upcoming releases (announced, rumored, and unknown). I’ll do my best to gather the best guesses in this article, so feel free to comment below.

Here are links to the various drawings from the past few years

2010 – Criterion.com / CriterionCast.com 2011 – Criterion.com / CriterionCast.com 2012 – Criterion.com / CriterionCast.com 2013 – Criterion.com / CriterionCast.com 2014 – Criterion.com / CriterionCast.com 2015 – Criterion.com / CriterionCast.com

Let’s pick it apart below:

Part 1

A. Three Kings (IMDb) / Wim Wenders’s Kings of the Road (IMDb)

B. The Kid (IMDb / Criterion) / McCabe & Mrs. Miller (IMDb)

C. Fantastic Planet (IMDb)

D. Lone Wolf and Cub films

E. Valley of the Dolls (IMDb) / Bubble (IMDb)

Part 2

F. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
See full article at CriterionCast »

Werner Herzog: A Guide For The Perplexed

Of the Big Three new wavers of German cinema—Rainer Werner Fassbinder, Werner Herzog and Wim Wenders-- who “came of age” as it were in the ‘70s, when I was in college and my own stake in the movies was budding into something more learned and substantial than what it was when I first discovered my love for them, Herzog has emerged as the director who most speaks to me now as an adult. I think that’s true at least in part because when his movies do speak to me it never feels like a one-sided conversation. I feel like I’m in there engaging in a push-pull with Herzog’s ability to seduce me (disarm me?) with his simplicity of approach, an ability which rarely seems satisfied to consider subjects from the less-perverse of two perspectives, and his tendency to rhapsodize and harangue and sidestep visual motifs
See full article at Trailers from Hell »

Tallinn: Debut Helmer Jelinek Hits the ‘Road-Movie’ Genre

Tallinn: Debut Helmer Jelinek Hits the ‘Road-Movie’ Genre
“Let’s go, then.” First-time director Martin Jelinek sets out his intent with three simple words in his Tallinn Black Nights Festival Tridens Competition entry “Road-Movie.” From the Czech Republic, the film stars Matej Marunka as Jakub, the co-owner of a Prague travel agency who, ironically enough, is stuck in his job. Taking the weekend off to visit his hometown for his mother’s birthday, he meets Ilona (Agata Krystufkova), an old childhood friend, and together they make plans to drive off and escape.

Jelinek acknowledges that the road-movie genre is generally viewed as an American genre. “But, paradoxically,” he says, “the films that come to mind and that inspired me aren’t American — like (Wim Wenders’) ‘Alice in the Cities’ or ‘Kings of the Road.’ Of the American ones I’d mention just the one, (Vincent Gallo’s) ‘The Brown Bunny.’ European filmmaking was always capable of delving into genres and,
See full article at Variety - Film News »

Criterion Collection: My Own Private Idaho| Blu-ray Review

  • ioncinema
Patching together portraits of his beloved Portland streets, bits of Shakespeare’s Henry IV via Welles’ tumultuous Chimes at Midnight, and vignettes of a narcoleptic vagabond hustler whose motherless anxieties send him travelling through time and space in shimmeringly nostalgic deep sleep, Gus Van Sant‘s My Own Private Idaho is a wildly original amalgam of cultural references and personal investments that transcend a mere tip of the hat. Riding high in the wake of Drugstore Cowboy‘s Hollywood success, Van Sant convinced River Phoenix and Keanu Reeves, two rising Tinseltown heart-throbs, to take a serious risk, committing themselves, against the loudly voiced opinions of their agents, to a pair of overtly homosexual roles in a film that opens with an off-screen blowjob. After River was awarded the prizes for Best Actor from the Venice International Film Festival, the Independent Spirit Awards and the National Society of Film Critics Awards
See full article at ioncinema »

Wenders Retrospective: Until the End of the World | Review

  • ioncinema
Pray for the Wounded Planet: Wenders’ Belabored Road Trip to the Apocalypse

The troubled production and following critical ambivalence towards Wim Wenders’ 1991 film Until the End of the World launched it into a sort of oblivion. Nearly twenty five years after its ill-fated reception, initially released as a three hour film which the director bitterly deigned the Reader’s Digest version of his epic, the near four hour and forty minute director’s cut premiered at the 2015 Berlin International Film Festival to coincide with the premiere of his first narrative feature in seven years, Every Thing Will Be Fine. Now, this complete version is finally seeing a Us theatrical release courtesy of a fifteen city national touring retrospective of Wenders’ films kicking off in New York at the IFC Center. In retrospect, time has been much kinder to the mishandled title than anticipated. Restored as Wenders’ complete vision, it’s
See full article at ioncinema »

Until the End of the World review – visionary techno-futurist nightmare

Starring William Hurt, the five-hour director’s cut of Wim Wenders’s 1991 global road-trip movie seems even more miraculous than the leaner original

The end of the world won’t come from a nuclear blast, but from an abundance of selfies. That’s part of the message gleaned from Wim Wenders’s Until the End of the World, the 1991 film that is only now getting a Us theatrical release for its full, almost-five-hour version. Back when smartphones, Gps devices and open European borders were considered sci-fi, the two-and-a-half-hour version of this futurist’s detective story was impressive. But this movie has always had its eye on the future’s potential.

The multinational co-production was enormous in its scope, especially considering the director’s roots as an arthouse film-maker. Budgeted at more than $20m (£13m) and shot all over the world, it was conceived as the “ultimate road picture”. It was
See full article at The Guardian - Film News »

The Criterion Collection announces October Blu-ray releases

Blu-ray distributors The Criterion Collection have announced its line-up for its October releases, which once again include some of cinema’s finest actors, directors and creators. David Lynch’s Mulholland Drive, Gus Van Sant’s My Own Private Idaho and David Cronenberg’s The Brood are amongst the latest list of films to get the Criterion touch.

You can view all the Blu-ray details and artwork below…

My Own Private Idaho

River Phoenix and Keanu Reeves star in this haunting tale from Gus Van Sant, about two young street hustlers: Mike Waters, a sensitive narco­leptic who dreams of the mother who abandoned him, and Scott Favor, the wayward son of the mayor of Portland and the object of Mike’s desire. Navigating a volatile world of junkies, thieves, and johns, Mike takes Scott on a quest along the grungy streets and open highways of the Pacific Northwest, in search
See full article at Flickeringmyth »

Wim Wenders: misfit, outsider and the man who helped America to see itself

After half a century of making films, the director is back on form with The Salt of the Earth and shows no signs slowing down

Wim Wenders is responsible for some of the most profound films made about America – quite a feat considering he doesn’t have a drop of starred-and-striped blood in his body. Paris, Texas is the obvious example: a western in mood and iconography, no matter that it is set in 1980s Los Angeles. It won the Palme d’Or at Cannes in 1984 and remains the director’s masterpiece. In that film, and many others, he showed the world what America looked like, and helped America to see itself through foreign eyes. Even those pictures not set in the Us – such as the great 1970s road movies Alice in the Cities and Kings of the Road, which made Wenders an arthouse darling – explore the influence, the voodoo romanticism,
See full article at The Guardian - Film News »

Watch: 23-Minute Masterclass With Famed Cinematographer Robby Müller

  • The Playlist
Dutch-born D.P. Robby Muller has never been a household name in the way that someone like, say, Roger Deakins is. And yet his influence on cinema, particularly of the independent and world variety, is impossible to deny. Known primarily for his work with Wim Wenders (“Alice in the Cities,” “Kings of the Road”) and Jim Jarmusch (“Down by Law,” “Mystery Train”), Muller has also offered his considerable talents to filmmakers like William Friedkin (in his neon-slicked sleazebag thriller “To Live and Die in L.A.”) and Alex Cox (in the watershed proto-punk classic “Repo Man”). His is a relaxed, understated style of shooting. Whereas someone like Deakins plays with visual artifice to achieve something akin to cinematic mythology, Muller’s approach is naturalistic and pared-down. It’s also far from simple. For the most part, Muller prefers working with independent filmmakers and rarely, if ever, says the words “that’s not possible.
See full article at The Playlist »

Cannes Pics Vie For Delluc Prize; China Plans 6 ‘Three Body’ Films: Global Showbiz Briefs

  • Deadline
The shortlist for France’s Louis Delluc Prize, one of the country’s highest film honors, has been released with 14 films making the cut across two categories: Best Film and Best Debut Feature. Among the eight main movies, six hail from this year’s Cannes crop. Saint Laurent – which is France’s entry for the Foreign Language Oscar – by Bertrand Bonello; Olivier AssayasJuliette Binoche/Kristen Stewart-starrer Clouds Of Sils Maria; veteran Jean-Luc Godard’s 3D Goodbye To Language; Abderrahmane Sissako’s Timbuktu; Pascale Ferran’s Bird People, starring Josh Charles; and Claus Drexel’s Au Bord Du Monde will vie alongside Venice pics Trois Coeurs, by Benoît Jacquot, and Robin Campillo’s Eastern Boys. Godard, Ferran and Jacquot are all former Delluc laureates. The Debut Feature shortlist is made up of Thomas Cailley’s well-received Fortnight film Love At First Fight; Camera d’Or winner Party Girl; Virgil Vernier
See full article at Deadline »
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