Now that we've had a look at the films in the official competition at this year's Venice Film Festival (September 1 through 11) — and Neil Young, by the way, is already placing odds on who'll win
Following Round 1 on Tuesday and Round 2 yesterday (with the titles slated for the Orizzonti section), we now have the nearly-but-not-quite complete list of films lined up for the Competition at
To begin with, something I'm outrageously proud of. Not only did my partner and I attend the public celebration of animator and special effects genius Ray Harryhausen's 90th birthday, but I was able
We've known for some time now that Catherine Breillat's Sleeping Beauty (image above) would open the Orizzonti (Horizons) section of this year's Venice Film Festival and that Hong Sang-soo's Oki's
As mentioned yesterday, the Venice Film Festival will open on September 1 with Darren Aronofsky's Black Swan and close on September 11 with Julie Taymor's The Tempest. Today, Venice Days, an independent
Above: Benj Gerdes and Jennifer Hayashida's Strike Anywhere. This is the second of two reports on the 56th Robert Flaherty Seminar. Fifty-five years after Frances Flaherty held the inaugural iteration
Above: Mika Rottenberg’s Cheese. Photo by Galerie Laurent Godin. This is the first of two reports on the 56th Robert Flaherty Seminar. Since 1955 The Robert Flaherty Seminar has gathered influential
Above: Tizza Covi and Rainer Frimmel's La pivellina. The recently wrapped Los Angeles Film Festival succeeded in reinventing itself—a new location in "revitalized" downtown with a new
Dear Abel, Happy birthday. I guess the respectable thing—the relevant thing—would have been to wait to until a milestone year, to wait until your 60th to write this letter. But you'll have nothing of
A couple of days ago I saw Luca Guadagnino's grandiose melodrama I Am Love. I didn't like it much at all, but I did find it fascinating, so much so in fact that 10 minutes in I whipped out my notebook
Historians still disagree on what killed Classical Hollywood Cinema. Academics with an analytical bent tend to write about the Paramount Decree of 1948, postwar suburbanization, the increasing popularity
Continued from Part 1. Image: La Dernière lettre (2002). Dmitry Martov: You once called Frederick Wiseman a "modern day John Ford." Olaf Möller: Yes. DM: Is there a modern day Frederick