Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.
- Above: Rainer Werner Fassbinder would have turned 70 this week. Can you imagine how many films unfilmed he would have made between 1982, when he died, and now? At his Movie Poster of the Day Tumblr, Adrian Curry has found a fantastic poster for Fassbinder's 1981 film, Lola.
- fxguide has a terrific exploration of the computer effects used in George Miller's Mad Max: Fury Road.
- Above: Anna Karina and Jean-Luc Godard. From our Tumblr.
- New York's essential BAMcinamFest, running June 17 - 28, has announced its 2015 lineup, which features such Notebook favorites as Queen of Earth, Stinking Heaven, and Counting, as well as several premieres including a new short film by our friend and contributor C. Mason Wells.
- Film Comment's Nicholas Rapold has interviewed with Apichatpong Weerasethakul about Cemetery of Splendour, the best film in Cannes this year. The interview opens up some of the film's more hidden pathways. Also in the magazine's online section, Nick Pinkerton's selection of "hundred best ensemble, secondary, and tertiary characters in international postwar art-house cinema."
- You should sit down before watching Tony Zhou's latest video essay, In Praise of Chairs.
- The famed Odd Obsession Movies in Chicago has turned to Indiegogo to fund a move and an expansion. Support your local video stores—and even those that aren't local but are fighting the good fight!
- That's Olivier Assayas: Once a critic, now a famous filmmaker, but always a cinephile. He has annotated his Top 10 Criterion Collection releases.
"Often, when I read filmmakers’ lists (including mine), I am frustrated by the absence of their contemporaries. The present is always the hardest to read, and no one will argue if you focus on masters of the past instead. But here are a few names, filmmakers whose work I have been lucky to follow since their beginnings; we’ve crossed paths, more or less frequently, but I have admired them constantly, also because they have been an inspiration. I feel I have had a dialogue with them, or with their films, and it is reflected in my own work."
- That's Henry Fonda, above, in his 1928 home outside Beverly Hills. Movie Morlocks reveals essential images from Hollywood Style, a 1969 book on the interior and exteriors of the houses of Hollywood greats.
- Do you ever wonder what films the President of the United States has been watching? Ever wonder what Richard Nixon watched? Mark Feeney has compiled "What Nixon Saw and When He Saw It," which includes Andre de Toth's Play Dirty, Citizen Kane, and What's Up, Doc?
- Interview magazine has—you guessed it—an interview with none other than Jean-Claude Carrière, the most important screenwriter of his generation.
- Above: Manoel de Oliveira driving his cameraman shooting Francisca (1981). The beautiful, Spanish-language e-magazine LUMIÈRE, which generously translated some of our Cannes coverage into español, is featuring a new dossier dedicated to the late, great Oliveira, including texts by filmmakers Jean-Claude Biette and Paulo Rocha, as well as by critic Serge Daney.
- Girish Shambu has announced a new book, The New Cinephilia, being released by the great folks of Canada's caboose. The publisher is even offering the book (or a few other choices) with purchase of their must-own Jean-Luc Godard compendium, Introduction to a True History of Cinema and Television.
- Above: At Artforum Nick Pinkerton writes on DCP, 35mm and two new all-celluloid series in New York.
- As was to be expected, after waiting eight years for it, we loved Hou Hsiao-hsien's The Assassin. Now, the Taiwanese director has announced his next film and we hope it doesn't take him as long to make! In it, his regular actress Shu Qi will play a "river goddess set in the modern era."
- Finally, we have Wes Anderson-themed pinball machines! The world can rest easy. Photo by Celluloid Liberation Front, snapped in the Anderson-designed Bar Luce in Milan.
An American in Paris (Vincente Minnelli, 1951). Image courtesy Deutsche Kinemathek
"Let's take for granted the received wisdom which says that the “average moviegoer” can’t tell the difference between a 35-mm print and a Digital Cinema Package (DCP) projection. The conclusion we should draw from this isn’t that there is no difference between these formats, but that the arbiters of film culture, including critics, curators, and absolutely everyone else, have failed entirely to educate a wider public as to what this difference is, and how to talk about it."
