Claude Lanzmann, Simone de Beauvoir, Jean-Paul Satre, 1967. Photo via Rithy Panh.
Shoah director and singular cinematic chronicler of the Holocaust, Claude Lanzmann has sadly left us. Daniel Lewis provides a comprehensive remembrance for The New York Times. Last year, we wrote on his last five films films, Napalmand The Four Sisters, a quartet of documentaries.
Even through his perhaps more artistically compromised mainland blockbusters, we remain dedicated fans of Tsui Hark's daring, punk cinematic vision. We especially highly regard his Detective Dee films, and thus are very excited for the forthcoming Detective Dee: The Four Heavenly Kings, which has received this ecstatic new trailer.
An oddly modern trailer showcasing the new gorgeous restoration of Jacques Rivette's first masterpiece (starring Anna Karina!), The Nun (1966).
In a qualitative sense, Yorgos Lanthimos' films have offered diminishing returns as of late, but we nonetheless remain thoroughly invested in his uncanny comedic sensibilities and recent collaborations with the Hollywood star system—all of which appear to continue with his latest feature, The Favourite.
We're still reeling in admiration of Hélène Cattet and Bruno Forzani's most recent genre play, the hybrid Western/Italian crime film (and perfectly titled) Let the Corpses Tan. The U.S. trailer is a must see...
Nothing beats French trailers from the forties—here's the restored trailer for Jacques Becker's film of youth and summertime, Rendezvous in July (1949), a distinct precursor to the French New Wave.
In light of the recent controversial casting of Scarlett Johansson as a trans man in the upcoming film Rub & Tug, Willow Maclay, Tina Hassannia, and Charles Officer discuss the politics of casting in cinema, especially in regards to Hollywood's neglect of transgender actors, at CBC Radio.
Cinema's foremost poet of body horror, David Cronenberg, has penned a thoughtful and expectedly provocative piece for The Globe and Mail on "the criminality of art."
At The New York Review of Books, Michael Casper has written an acute but equally contentious article questioning Lithuanian-American avant-garde filmmaker Jonas Mekas's relationship to the Nazi persecution of Lithuanian Jews as a young poet-activist, arguing that his fragmented recollections of the war form the "contradiction [...] at the heart of [his] work." Art critic Barry Schwabsky has penned a letter—also at the Review—in defense of Mekas and the elusive memories born from his "trauma of living amidst so many murders." On his personal website, J. Hoberman's response to Casper and Schwabsky bridges the gap between the "selective memory" of both writers by centering Mekas's undeniable "human nature."
Everyone's favorite man-child American comedy, Step Brothers (2008), receives the oral history treatment at The Ringer.
Susan Siedelman, the underestimated independent filmmaker most famous for Desperately Seeking Susan (1985) discusses her career, collaborating with Madonna, and more at Vulture.
We somehow missed this last month: Palo Alto-based filmmaker Alejandro Adams candidly discusses his filmmaking absence, a promising work in progress, and more at Filmmaker magazine.
RECENTLY ON NOTEBOOK
An epic overview of the martial arts film choreographer, actor, and director Lau Kar-leung (The 36th Chamber of Shaolin, Eight-Diagram Pole Fighter).
With Gus Van Sant's latest picture opening in U.S. cinemas this weekend, we aptly stumbled upon this insightful interview with Hildegard Westerkamp, the"Soundscape Composer" of Elephant, Last Days, and Gerry.
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