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Rushes. Jeanne Moreau & Sam Shepard, “mother!”, Femme Fatales

This week’s essential news, articles, sounds, videos and more from the film world.
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Antonioni and Jeanne Moreau
  • "What brings you to us?" Good question—we know next to nothing about Darren Aronofsky's new film mother! other than that it stars Jennifer Lawrence. The first teaser trailer doesn't help much, but we wish we were attending the Venice Film Festival to catch the premiere.
  • We're intoxicated by the punk-noir trailer for F.J. Ossang's new film, 9 Doigts (9 Fingers), which is premiering later this week at the Locarno Film Festival.
  • Fun of a different kind can be found in the trailer the Coen brothers-scripted, George Clooney-directed Suburbicon. It's headed to Venice as well.
  • If you enjoyed MUBI's recent retrospective of filmmaker Philippe Garrel and were particularly intrigued by his late '60s film, L.A.'s Cinefamily has a new series for you, dedicated to the miraculously made Zanzibar films.
  • Since we're film dorks, we love talking about aspect ratio—creative uses of, as well as sins against. A fun take on the subject's possibilities can be found in Charlie Lye's video essay on Sergei Eisenstein's theory of "the dynamic square" and the yet-to-be-fulfilled vision of cinema using various frames within the frame.
  • Another ace trailer from Cinefamily is for a documentary on the brilliant and highly influential (if remarkably unknown) electronic music and sound effects work of Suzanne Ciani, A Life in Waves.
That something we have in a bag or a pocket can document images and sound allows us to imagine that more people will access the production of an audiovisual discourse. Sadly, history shows us having low-cost pens is not enough to create writers. You have to find ways of preventing single, exclusionary visions from being established. Homogeneity is the enemy. Our existence is short, absurd and highly mysterious. We need everyone because we do not know where we’re going.
Women in the postwar era faced shrinking options and stifling constraints; film noir lets us see them pacing their cells and calculating how to make the most of their slender leverage. But in noir, everyone’s power, however fatal it may first appear, is dwarfed by the force of bad choices and indifferent fate. The real dichotomy is, perhaps, not between good and bad women—or tough and not-so-tough guys—but between those who know this and those who haven’t found it out yet.

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