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Rushes. Inside the “The Tree of Life”, Maya Rudolph, Paul Verhoeven’s Razzie

This week’s essential news, articles, sounds, videos and more from the film world.
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  • Annette Michelson, one of the foremost film scholars and illuminating minds on the avant-garde, has sadly left us at the age of 96. Artforum offers a thoughtful remembrance, including a round-up of links to Michelson's Artforum contributions.
  • French philosopher and cultural theorist Paul Virilio passed earlier this month. Scholar McKenzie Wark has penned a lovingly thorough of the man and his works for Frieze.
  • In the event of Criterion Collection's new release of Terrence Malick's masterpiece, The Tree of Life (which includes a new cut of the film!), they have shared a special feature which offers rare insights into the ethereal cosmological imagery and special effects. Watch it here.
  • An evocative, even minimal trailer for Her Smell, Alex Ross Perry's and Elizabeth Moss' joint exploration of a unhinged '90s rockstar is here.
  • David Lynch continues his cinema's relationship with painting in this fitting trailer for the Bonnefantenmuseum's forthcoming exhibition of his visual art, short films, sculptures, and more. Read more about the exhibition here.
  • Notebook contributors Adrian Martin and Cristina Álvarez López decipher several aspects of Phantom Thread's mysterious mise en scène in their new video essay for Filmkrant.
  • We didn't see this one coming—Icarus Films has restored Chris Marker's The Owl's Legacy, a 13-part television series on the influence Greek culture has had on the modern world.
  • Lucrecia Martel makes a most memorable trip to the Criterion closet in this new clip.
  • The September-October 2018 issue of Film Comment features an interview with Burning's Steven Yeun, a review of the Coen brothers' The Ballad of Buster Scruggs, and an overview of "nonfiction camp" in documentary filmmaking by Eric Hynes.
  • Manohla Dargis and A.O. Scott of the New York Times have compiled a broad and thorough list of women pioneers in film history, a collection deemed "not a canon or a pantheon but a celebration and an invitation to further discovery."
  • Brooklyn Rail's Gina Telaroli interviews programmer Hannah Greenberg on the occasion of the Anthology Film Archive's series "Women of the West," which focuses on "how [women] have been able to subvert the typically hyper-masculine genre throughout the course of cinema history."
  • The singular contemporary talent that is Maya Rudolph receives a perfect (and long overdue!) profile by Caity Weaver for The New York Times.
  • With her latest High Life premiering at TIFF, Claire Denis joins Vulture to discuss the conception and design of the film's beguiling world, and the casting of Robert Pattinson and Juliette Binoche.
  • With Bradley Cooper's vision of A Star is Born soon to be released in theaters, Farran Nehme takes a look back at What Price Hollywood?, a forgotten link in the renditions of the Star Is Born story, directed by George Cukor (who directed the first 1954 remake).
  • The sound for the 1993 studio thrill-ride Judgment Night served as a rare union between rap and rock music legends. Rolling Stone hosts a refreshing roundtable with its contributors, featuring the likes of Sonic Youth to Cypress Hill and many more.
  • Also at TIFF, Tsilhqot’in director Helen Haig-Brown speaks with programmer Danis Goulet about Edge of the Knife, her debut feature and the first film to include the Haida language, spoken by only 24 people on the planet.
  • David Lynch and Angelo Badalamenti’s album Thought Gang, an abandoned '90s record featured in Twin Peaks: Fire Walk With Me, will be released on November 2. Read more about the project here.  
  • John Carpenter's legacy is upon us too—with a first glimpse of his entrancing original score for David Gordon Green's Halloween reboot/sequel.
  • Paul Verhoeven gives a charming and most sincere acceptance speech for one of his very finest films...
  • Remember: before it was a meme, it was cinema...
  • How did we miss this one? A map cartographically charting Wang Bing's cinema by region.
I was wondering why I've hated every Alex Ross Perry film since "The Color Wheel," and why they're gotten progressively heavier and ponderous and shrill and logorrheic, and then I figured out that it's because none of them have Carlen Altman in them, and that's she's probably the reason I liked "The Color Wheel" so much. If Alex Ross Perry is anything like his films - and I'm assuming he is - then he seems like a very unpleasant person to be around.

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