Gatsby believed in the green light
, the orgastic future that year by year recedes before us. It eluded us then, but that’s no matter — tomorrow we will run faster, stretch out our arms farther.... And one fine morning —
So we beat on, boats against the current, borne back ceaselessly into the past
posted by fearfulsymmetry
on May 23, 2012 -
And so I descend once more into the mysterious depths of 3 Women, a film that was imagined in a dream. Robert Altman's 1977 masterpiece tells the story of three women whose identities blur, shift and merge until finally, in an enigmatic last scene, they have formed a family, or perhaps have become one person. I have seen it many times, been through it twice in shot-by-shot analysis, and yet it always seems to be happening as I watch it.
- Roger Ebert [more inside]
posted by Trurl
on May 20, 2012 -
The Smiling Madame Beudet
made in 1922 is generally regarded by scholars and theorists as history's premier "feminist film
Germaine Dulac (wiki
) was a central figure in 1920's French avant-garde cinema, and its only woman director. A filmmaker with her own production company who worked in narrative, avant-garde, and documentary genres, Dulac was also an active feminist, critic, and a prolific writer who wrote some of the earliest treatises on avant-garde film.
Later she made what was considerered one of the first surrealist films: The Seashell and the Clergyman
(1928) from an original scenario by Antonin Artaud who later denounced it.
This resulted in a letter to La Nouvelle Revue Française, because the journal had omitted to mention her as the “author” stating that
the intellectuals and the filmmakers should develop a closer kinship to one another, for it is only nuances between words that irremediably keep them apart.
posted by adamvasco
on May 11, 2012 -
Many films are called “classic,” but few qualify as turning points in the evolution of cinematic language, films that opened the way to a more mature art form. Michelangelo Antonioni’s L’Avventura is such a work. It divided film history into that which came before and that which was possible after its epochal appearance. It expanded our knowledge of what a film could be and do. It is more than a classic, it’s an historical milestone. ... Antonioni’s great achievement was to put the burden of narration almost entirely on the image itself, that is, on the characters’ actions and on the visual surface of their environment. He uses natural or manmade settings to evoke his characters’ state of mind, their emotions, their life circumstances. We learn more about them by watching what they do than by hearing what they say. We follow the story more by reading images than we do by listening to dialogue. The settings are not symbolic or metaphoric—they are extensions, manifestations, of the characters’ psyches. Physical landscape and mental landscape become one.
- Gene Youngblood
posted by Trurl
on Apr 29, 2012 -
What you see here is a prime example of what happens to film that is neglected and improperly stored.
This is an original reel from It's a Mad, Mad, Mad, Mad World that is now untouchable. The film has turned acidic, sporting the strongest and most foul vinegar-like odor I have ever smelled. In fact,
Robert Harris told me a story of how his contact lenses were singed by the fumes the film produced, causing temporary retinal damage to his eye. [more inside]
posted by Trurl
on Apr 27, 2012 -
Heavily influenced by samurai films from film makers such as Akira Kurosawa, French/Burkinabe filmmaker Cédric Ido
produced a short award winning film, Hasaki Ya Suda
(The Three Black Samurai) set in the future. Its synopsis reads
It is 2100. In the world engulfed in chaos and war whose residents are consumed by terrible hunger, the last fertile land became the subject of fierce battles. Three warriors: noble Wurubenba (Jacky Ido), Shandaru (Cedric Ido), who wants to avenge his father’s death, and Kapkaru (Min Man Ma) craving for power, will face one another in a fight for life and death.
Watch the full 25-minute
Hasaki Ya Suda short film (available only with French subtitles at the moment) or the 1 minute teaser
. Interview with Cedric
posted by infini
on Apr 23, 2012 -
Derelict Cinemas and Theatres by Adam Slater:
Since 2008, Adam Slater has been on a quest to photograph Britain’s abandoned and derelict cinemas and theatres before they are gone for good. Below are some examples from his astonishing set of beautiful yet grotesque ruins, which you can see in full on his flickr
page. His blog, Reality Trip
, features more fantastic photographs of old power stations, quarries and more. Be sure to check it out. [kubrickontheguillotine.com]
posted by Fizz
on Apr 20, 2012 -
Those Americans who are familiar with the name Claude Lanzmann most likely know him as the director of “Shoah,” his monumental 1985 documentary about the extermination of the European Jews in the Nazi gas chambers. As it turns out, though, the story of Lanzmann’s eventful life would have been well worth telling even if he had never come to direct “Shoah.” In addition to film director, Lanzmann’s roles have included those of journalist, editor, public intellectual, member of the French Resistance, long-term lover of Simone de Beauvoir and close friend of Jean-Paul Sartre, world traveler, political activist, ghostwriter for Jacques Cousteau — I could go on, but it’s a good deal more entertaining to hear Lanzmann himself go on, and thanks to the publication in English of his memoir, “The Patagonian Hare,” we now have the opportunity to do so. (previously)
posted by Trurl
on Apr 16, 2012 -
John Fithian, president of the National Association of Theatre Owners, drove the point home at the association's annual convention last year in Las Vegas. "Simply put," he said, "If you don't make the decision to get on the digital train soon, you will be making the decision to get out of the business."
As movie studios look to eliminate the expense of 35mm prints, what are the consequences of going digital
? (printer-friendly link
posted by Horace Rumpole
on Apr 12, 2012 -
As brutally stylish as it is when the fists and baseball bats are flying, the underlying themes of family and perseverance are what make The Warriors stand out from the rest of the "grim future" epics of the period.
- Celluloid Dreams
posted by Trurl
on Apr 10, 2012 -
The Big Sleep is a film I have found a very intense love for. The rotating cast of shadowy crooks and deceptive dames coupled with the roller-coaster plotting makes this classic movie endlessly entertaining. Bogart and Bacall are electrifying together and the supporting cast is equally captivating. Considering it’s over 60 years old,
The Big Sleep still works in a big bad way and feels fantastically modern. It’s as if the film is simply too fast and too entertaining to age. It was crafted by the hands of some of Hollywood’s finest artists at the time and oozes quality as a result. Most of all though, this movie is just pulpy, fearless, fun and really, really cool.
- Pictures and Noise [more inside]
posted by Trurl
on Apr 7, 2012 -
"Is cinema a language about to get lost, an art about to die?"
[Vimeo] During the 1982 Cannes Film Festival, Wim Wenders set up a static camera in room 666 of the Hotel Martinez and provided selected film directors (inc. Spielberg, Godard, Fassbinder & Herzog) a list of questions to answer concerning the future of cinema. Each director was given one 16 mm reel (approximately 11 minutes) to answer.
posted by urbanwhaleshark
on Mar 25, 2012 -
The most immediately apparent characteristic of James Benning’s film is surely its form: thirteen ten-minute static takes, which (save the leader between shots) comprise the entire visual track of the picture. Far from cursory, this detail accounts for the totality of Benning’s æsthetic. Everything that Benning says in 13 Lakes, he says using this formal language – along with a soundtrack recorded on-site, thought not necessarily concurrently with the image. Moreover, Benning, as has been noted, repeats the same basic framing in each of the thirteen segments, presenting the horizon-line in centre of the frame, dividing lake and sky into approximately equivalent fields. James Benning’s Art of Landscape: Ontological, Pedagogical, Sacrilegious
, by Michael J. Anderson for Senses of Cinema (via
; see also: 13 Lakes Q&A
at LA Film Forum
) [more inside]
posted by filthy light thief
on Mar 6, 2012 -
The Seventh Art
is an independently produced video magazine about cinema with three sections: a profile on an interesting group/company/organization in the industry, a video essay and a long-form interview with a filmmaker.
posted by You Should See the Other Guy
on Feb 10, 2012 -
... it’s no exaggeration to say that LIFEFORCE tosses everything in but the kitchen in an attempt to entertain you. Actually, scratch that, it tosses everything including the kitchen sink. By the time the movie is complete, you may have to watch it again just to verify that you actually saw what you just saw. The movie is a mess of enormous proportions which I absolutely loved.* (previously) [more inside]
posted by Trurl
on Feb 6, 2012 -