Rushes: Jean-Marie Straub, Jacques Derrida & Film Forum’s Banana Bread, Notebook Gift Guide

This week’s essential news, articles, sounds, videos, and more from the film world.

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  • This week, we’re remembering the iconoclastic, anti-capitalist filmmaker Jean-Marie Straub, who has died at the age of 89. In the course of revisiting Christopher Small’s Straub-Huillet Companion column, we were moved by this quotation from Straub, from a 1974 edition of Jump Cut:
The revolution is like God’s grace, it has to be made anew each day, it becomes new every day, a revolution is not made once and for all. And it’s exactly like that in daily life. There is no division between politics and life, art and politics. I think one has no other choice, if one is making films that can stand on their own feet, they must become documentary, or in any case they must have documentary roots. Everything must be correct, and only from then on can one rise above, reach higher.


  • Linked here is a new, 14-minute interview with Tsai Ming-liang for TaiwanPlus, covering his career to date and plans for the future. (Glossy title card above.)
  • One trailer you shouldn’t miss…80 for Brady. Set adjacent to the Book Club cinematic universe, this is a rambunctious period piece set way back in 2017, following Lily Tomlin, Jane Fonda, Sally Field, and Rita Moreno—all Patriots super-fans—to the Super Bowl. Along the way, they encounter the titular QB and several Guy Fieris.  


  • Have you ever wondered about the Film Forum concessions sign advertising Jacques Derrida’s love of their banana bread (above)? For Screen Slate, Mark Asch contributes intrepid reportage on the full story.
  • In Harper’s, Rachel Kushner writes on Robert Frank’s Cocksucker Blues and Luca Guadagnino’s Bones and All. Another must-read, and a rare treat from one of our best contemporary novelists.
  • “If Tony Leung Chiu-wai has been praised for his ability to act with his eyes—there exists a YouTube video essay on the subject with over a million views—Tang Wei, in her explosive acting debut in Lust, Caution (2007), shows an uncanny ability to embody that ineffable state of being looked at.” So writes Phuong Le for the Metrograph Journal, tied to the theater’s Tang Wei retrospective surrounding her role in Decision to Leave.
  • Adam Piron crafts a beautiful essay for the Criterion Current on the once-lost silent film The Daughter of Dawn (1920), whose cast was made up entirely of Indigenous non-actors. “Much of the film’s power,” says Piron, “comes from what it inadvertently documented: the performance of Kiowa and Comanche customs dating back to before the reservation period.”
  • “It’s not uncommon for artists to learn to see by going down into the inferno.” On Verso’s blog, an excellent career-spanning essay by Greg Gerke on Ryusuke Hamaguchi.
  • Finally, for New York’s newest alt-paper Hell Gate, Max Rivlin-Nadler speaks to James Gray about Armageddon Time, with a particular focus on the local context in Queens.




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RushesNewsTrailersVideosJean-Marie StraubRobert FrankLuca GuadagninoJacques DerridaRyusuke HamaguchiJames GrayMartine SymsCharlie ShackletonJerzy SkolimowskiSteven SpielbergHiroshi ShimizuAlex Ross PerryTsai Ming-Liang
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