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Rushes. New Trailers, Soviet Silent Masterpieces, Frances McDormand

This week’s essential news, articles, sounds, videos and more from the film world.
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.
  • The second arresting trailer has arrived for Yorgos Lanthimos' latest, The Killing of a Sacred Deer, his second English language film, starring Colin Farrell and Nicole Kidman. Read review of the film from the Cannes Film Festival here.
  • We admired Alex Garland's feature debut, Ex Machina, and interviewed its product designer. Hence why we're all the more excited for his forthcoming deep dive into sci-fi, Annihilation, adapted from Jeff VanderMeer's wonderfully eerie novel.
  • The first look at Woody Allen's Wonder Wheel, starring Kate Winslet and Justin Timberland and shot by the legendary Vittorio Storaro.
  • Finally, the trailer for Ryusuke Hamaguchi's luminous melodrama Happy Hour. Read our rave review from our coverage of the Locarno Festival in 2015.
  • Paul Thomas Anderson's collaboration with HAIM continues with yet another breathlessly staged and lensed music video.
  • Issue 72 of Cinema Scope was published last month, but now you can find a host of articles online from the issue at their website. Including expansive pieces on directors Lucrecia Martel and Lino Brocka, as well as Frederick Wiseman's Ex Libris: The New York Public Library.
"So I was slow to come around to it, but finally, enough years had gone by where I felt that I just had to take Soviet cinema, like so much cod liver oil, that it was good for me. But I watched it then — maybe in my late twenties or early thirties — and I just, I don’t know… all my chakras lined up or something, and it was glorious."
  • Guy Maddin sorts through the many wisdoms to be found in Soviet cinema in an interview with James Quandt for TIFF.
"I began filming in 1950 a few months after I landed in New York and I could get my first Bolex but since I did not know, I had scripts written I had several little scripts that were sort of poetic, they were not normal scripts. But I was not sure so I just kept filming; I wanted to master the camera, to see what the camera could do. Since I got involved in Film Culture then later in The Village Voice, I never had much time, no long stretches of time, I just kept filming in little pieces. I thought I was practicing, but when I began looking at what I had, I realized it was like keeping a diary. So I just continued working that way! [laughs]"
  • In the event of her forthcoming film Three Billboards Outside Ebbing, Missouri (our review), The New York Times offers a wonderful portrait (in photographs and in words) of actress Frances McDormand.
"Every Hong film gets better the more times you watch it, his peculiarly fluid approach to reality and temporality make even the most basic elements of his scenarios matters for speculation, kaleidoscopic objects that shift not only meaning but cause and effect with every new viewing. But Claire’s Camera is exceptional in this regard. Each time I’ve seen it, I’ve had to invent a whole new theory of the film, none of which have so far managed to explain all the facts as they’re presented. Watching it is like trying to solve a puzzle in which several key pieces are missing."
  • Sean Gilman hones in on the aspects of Hong Sang-soo's Claire's Camera that we appreciated most for Seattle Screen Scene, where Gilman and other Seattle critics are also extensively covering the Vancouver International Film Festival.
  • Elliott Gould looks back on his acting pursuits in New Hollywood and beyond for the WTF with Marc Maron podcast.

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