Rushes: SAG-AFTRA Strike Vote, New Leos Carax and Jia Zhangke Films, Il Cinema Ritrovato Lineup

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

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Leos Carax in Holy Motors (2012).


Adieu Philippine (Jacques Rozier, 1962).



  • A new issue of Outskirts, a print magazine edited by Notebook contributors Sofie Cato Maas, Diego Cepeda, Nathan Letoré, and Christopher Small, has been announced. The second edition will include a dossier on the Japanese filmmaker Kinuyo Tanaka.
  • “Few filmmakers have done as much to redress cinema’s historical neglect of labor as the Chinese documentarian Wang Bing.” Dennis Lim interviews Wang Bing for the Film Comment Letter, speaking with him about his factory-focused documentary Youth (Spring), and touching also on his other new film, Man in Black, both of which premiered recently at Cannes.
  • In Artforum, J. Hoberman remembers Kenneth Anger, “an audacious filmmaker, a self-proclaimed magus, a never-closeted queer, a shameless scandalmonger, a sometime Satanist, a difficult person, and, as P. Adams Sitney put it, the ‘conscious artificer of his own myth.’”
  • “The seventy-sixth iteration of the event known simply as ‘Cannes’ was a twenty-million-euro festival of retirement, the long-rumoured death of cinema pre-empted by a fortnight of curtain calls for the biggest stars and directors of the last half century.” The New Left Review’s Caitlin Doherty goes to Cannes, writing, for the Sidecar vertical, about the festival’s “bonanza of industry trading and red carpet photocalls.” Elsewhere, James Wham writes up the festival for the Baffler, offering “a brief history of Cannes” by way of its ”cannibals, fishmongers, aristocrats, and cannibals again.”
  • “‘When I’m in a theater that’s Cinemascope ratio, I like to be right near the front, middle of the third row [...] When I’m in a stadium, IMAX 1.43:1, then I actually like to be a little behind the center line right up at the middle. So, a little further back.’” Ahead of his next film Oppenheimer, Lindsay Bahr interviews Christopher Nolan for Associated Press, drawing from him a “a guide to his favorite formats” and assorted musings on large-format screens.
  • “Throughout the film, sound and image reach a limit of transmission, producing cleavages.” For Documentary Magazine, Jordan Lord (Shared Resources) pens an essay on Alison O’Daniel’s The Tuba Thieves, a noteworthy doc premiere from Sundance and MoMA’s Documentary Fortnight. Lord looks specifically at the film’s consideration of captioning, translation, and sound, the result of eleven years’ work on production.


  • Bologna: “What does it mean to revisit the works of the great masters in their original splendor?” asks Il Cinema Ritrovato, the world-renowned festival of retrospective and restored film which returns from June 24 through July 2. “It means renewing the love of cinema, reading the passion of the author between the lines, amplifying the pleasure of being a spectator in the darkness of the theatre.” The lineup for the festival’s 37th edition is now online.
  • Ghent: Starting soon at the Cinematek Brussels is a series of 13 screenings curated by Mark Webber and Simon Field, each inspired by an issue of the British film magazine Afterimage (1970-87). The series runs until June 22 and is organized by Courtisane.
  • Berlin: Running at Arsenal, silent green, and SİNEMA TRANSTOPIA, “Archival Assemblies #2” is a festival, exhibition, and symposium that “considers international film archives as a shape-shifting space for the future of cinema.” It includes a tribute to Congolese filmmaker Petna Ndaliko Katondolo, plus screenings of new restorations including Lindsey Merrison’s Friends in High Places (2001), and Korhan Yurtsever’s Kara Kafa (1979). The festival runs June 8 through 15, with the symposium on June 9 and 10, and the exhibition continuing until July 2.
  • Berkeley: Ongoing through July 15 at the UC Berkeley Art Museum and Pacific Film Archive is a tribute to Tom Luddy, “the celebrated film producer, curator, and festival director who led BAMPFA’s film program during its formative years.” The varied selection includes work by Andrei Konchalovsky, Chantal Akerman, Kenneth Anger, and more.


S1M0NE (Andrew Niccol, 2002).


  • If you want to buy a wearable gift for a cinephile in your life, after fifteen years of operation, the Brooklyn microcinema Light Industry is now selling T-shirts with an Eisenstein-inspired design by Little Joe editor Sam Ashby. They look very nice indeed.  

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RushesNewsletterNewsTrailersVideosLéos CaraxJia ZhangkeJacques RozierKinuyo TanakaWang BingKenneth AngerChristopher NolanJordan LordAlison O'DanielPetna Ndaliko
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