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Rushes. byNWR, “She’s Gotta Have It” Remake, Manny Farber, Amy Adams

This week’s essential news, articles, sounds, videos and more from the film world.
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  • Nicolas Winding Refn, the provocateur known for sleekly mixing art-house and genre cinema in such films as Drive and The Neon Demon, has announced a new initiative: A new online cinema showcasing "restored films and other content with the aim of inspiring a new generation of cinephiles." MUBI is partnering with the Danish director to premiere these newly restored movies on our platform before they are available on, which officially launches in February, 2018.
  • The first trailer for a project we're very excited for, Spike Lee's expansive remake of his sophomore feature She's Gotta Have It (1986).
  • Critics Cristina Álvarez López and Adrian Martin also have a new video essay on the nuances in gesture and expression in the cinema of Rainer Werner Fassbinder for Queensland Gallery of Modern Art. For Filmkrant, they also have produced a new video essay analyzing the rhythms and complexities of Theresa Russell's distinct use of her voice in Nicolas Roeg's Bad Timing (1980).
  • In case you missed it, the Film Society of Lincoln Center are uploading a vast array of interviews, dialogues, and Q&As from the recently concluded 55th New York Film Festival to their YouTube channel. Among those recorded: Hong Sang-soo, Claire Denis, Kevin Jerome Everson, Isabelle Huppert, Greta Gerwig, and more.
  • In light of the recent allegations against Harvey Weinstein, Amy Nicholson investigates the history of abuse in Hollywood past and present for The Village Voice.
It was, as Welles later euphemistically remarked, “quite an adventure,” a production that evolved through changes of cast (two Desdemonas came and went before Suzanne Cloutier got the part, only to find her voice dubbed by another actor in Welles’s final version), changes of location (several Italian settings, including Rome, Venice, and Lombardy, were used, along with, most crucially, Morocco), multiple cinematographers and editors, and constant interruptions of financing. Shooting began in 1949, and it was not until 1952 that Othello emerged to share the top prize at Cannes (with Renato Castellani’s Two Cents Worth of Hope).
  • Othello (above, Welles on set) and Barry Lyndon are refreshingly analyzed anew for Criterion by Geoffrey O'Brien.
  • "A pointillist, she creates pinpricks of emotion, but can easily go bigger than life." Manohla Dargis provides a portrait of the great Amy Adams for the New York Times.
"It’s certainly welcome to have all or almost all of Agee’s prose about movies for Time in one place—the principal value of this compendium, which also prints or reprints all the Nation reviews and other published film pieces as well as 60-odd pages of “unpublished manuscripts”—but it’s also hard not to regard this as a mixed blessing." 
  • The Library of America has uploaded a rare video of America's greatest film critic, Manny Farber, speaking on his extensive career as an artist and writer. (Hat tip to Christopher Small.)
  • Apropos of the forthcoming album by John Carpenter, and sequel (reboot?) of Halloween starring Jamie-Lee Curtis, two of our favorite modern film composers have shared a cover of Carpenter's most iconic melody.

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