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Weekly Rushes. Godard Biopic, Film Comment Editors, Jarmusch Clips, Radiohead’s “The Wicker Man”

This week’s essential news, articles, sounds, videos and more from the film world.
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.

La chinoise
  • The trailer for Philippine director Brillante Mendoza's Ma' Rosa, which will also premiere in competition in Cannes this month.
Polish poster for Citizen Kane
"The very concept of “limited release” as a criterion for review has become absurd now that viewers nationwide can get hold of a new film at the touch of a button. The ongoing distinction between a theatrical release and home viewing is in effect a protection racket for movie theatres as well as for big-budget producers and distributors, and it’s hard to know why critics and editors go along with it."
"For the studios, DVDs were a boon to the bottom line, and to consumers they were collectible tokens of movie love. In any case, they didn’t last long and are now increasingly niche items rather than commodities for mass consumption. Why clutter your shelves with special editions of last year’s blockbusters when a whole mobile cinematheque is a few clicks and swipes away?"
  • We're headed to the Cannes Film Festival next week for the year's most exciting (and intense) set of film premieres. Roger Ebert's 1987 book about covering the festival, Two Weeks in the Midday Sun, is getting re-released at the same time, and Martin Scorsese has penned a new introduction:
"And a certain madness sets in. The journalists and critics rushing between screenings, maybe stopping off at the press room or their hotel room to file. The meetings, meetings and more meetings happening in cafés and restaurants, up and down stairways and on line for movies, in corners, anywhere you can find a place to sit or even stand. The crowds, thronging the streets by about six to get a glimpse of this actor or that director being driven to the Palais for their walk up the red carpet (the "marche rouge"). The paparazzi, shouting out the names of those actors and directors as they're led up the stairs, one at a time, directed by their press teams to turn this way and then that way for the cameras. The fireworks. The announcements over the PA accompanied by blaring music. And the people, people, and more people."
"The picture. The new art. The camera unbound. The picture is very exciting to anyone who gets excited about how things can be done in the movies; and the many places where it takes off like the Wright brothers should be credited to Welles first and his cameraman second (Herman J. Mankiewicz as writing collaborator should come in too). The Kubla Khan setting, the electioneering stage, the end of the rough-cut in the Marsh of Thyme projection room, the kid outside the window in the legacy scene, the opera stage, the dramatics of the review copy on opening night—the whole idea of a man in these attitudes must be credited to Welles himself.
And in these things there is no doubt the picture is dramatic. But what goes on between the dramatic high points, the story? No. What goes on is talk and more talk." 

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