Once Upon A Time In America [auto-play audio] is the last of a string of films about the past and future of a country [Sergio Leone] knew first and best from the B-movies and yellowing paperbacks America sent abroad. For this 1984 swan song, Leone broke a directing hiatus that stretched back a decade, and turned away from Westerns toward another quintessentially American genre. His fantasia of gangland themes and images barely works by the standards of a gangster film, but succeeds brilliantly by those of epic poetry. - Keith Phipps [all links may contain spoilers] [more inside]
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
The extended trailer for David Cronenberg's adaptation of Don DeLillo's Cosmopolis has hit the internet.
"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.
Carl Erik Rinsch‘s futuristic action thriller short The Gift. Other movies by Big Lazy Robot Studio. The Commercials of Carl Erik Rinsch. Also: The Hunt of the Unicorn.
For Roger Ebert, it's a prayer that made him "more alert to the awe of existence." For Rober Koehler, it's a kitschy New Age con. For Richard Brody, it perfectly captures the essence of a generation by depicting a character thinking "back to the musings and fantasies of childhood, which are the product of a wondrous and fantastic view of science formed by popular-science books for children and by the commercial artists whose illustrations adorned them." For Stephanie Zacharek, it's "a gargantuan work of pretension." For Ignatiy Vishnevetsky, it's "a creation myth in the guise of a crypto-autobiography" that invents a universe of its own only to destroy it. For J. Hoberman, it's lifeless and dull, "essentially a religious work and, as such, may please the director's devotees, cultists, and apologists." It spent thirty years in development, three in editing and, yes, it contains dinosaurs. The Tree of Life, written and directed by famously reclusive Zoolander fan and "JD Salinger of American movies" Terrence Malick , won the Palme d'Or at this year's Cannes Film Festival. Tomorrow, it comes out in the United States. [more inside]
Cannes film sickens audience It proved so shocking that 250 people walked out, some needing medical attention. Good lord.