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Rushes. Twin Peaks VR, Google & Terrence Malick, Barry Jenkins Profile

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.
  • Frieze reports that David Lynch, in collaboration with Showtime and Collider games, is set to create a Twin Peaks virtual reality experience: "Twin Peaks VR will allow players to explore locations from the original series (1990–1991) as well as Twin Peaks: The Return".
  • We're four years removed from Gone Girl and still without a new David Fincher movie—thankfully /Film reports that, despite the radio silence, David Fincher is still set to direct "World War Z 2", which is set to shoot Summer 2019.
  • Clint Eastwood returns both behind and in front of the camera—this time hunted by his protégée Bradley Cooper—in what looks to be a remarkable thriller about lifetimes, borders, and family. The first trailer for The Mule is here:
  • Here is the official trailer for Joseph Kahn's battle-rap comedy Bodied, which is finally coming to theatres on November 2nd. Fernando Croce reviewed the film during its premiere at TIFF in 2017, writing that Kahn displays "a slash-and-burn satirical side that hungers to smash the glossy pop surfaces he fashions."
  • An adaptation of the titular spy novel by John le Carré, The Little Drummer Girl will premiere on November 19th. The series, which follows an actress's plunge into espionage, marks the television directorial debut of Park Chan-wook, and his first project since The Handmaiden in 2016.
  • First premiering in the Wavelengths programme at this year's TIFF, Apichatpong Weerasethakul's short film Blue is now available for viewing on YouTube, thanks to 3e Scène. Read Daniel Kasman's review here.
  • Google and Terrence Malick have collaborated on a commercial for the Pixel 3, a dizzying collage of intimate memories from around the globe.
Barry Jenkins for The New York Times.
  • Angela Flournoy of the New York Times has penned a profile of director Barry Jenkins, the adaptation process of If Beale Street Could Talk, and the role of love and politics in his filmmaking.
  • "Torquing Susan Sontag’s definition of camp as 'seriousness that fails,' I think of Cooper’s movie as seriousness that succeeds, but perhaps too well or too cleanly" that's Melissa Anderson, writing lucidly for 4Columns on Bradley Cooper's A Star Is Born. In contrast, you can read Kelley Dong's exuberant Notebook review here.
  • An intriguing look into the "scratches" on reels of Stanley Kubrick's 2001: A Space Odyssey, that were later digitally erased in later releases of the film. "What exactly are the guiding principles of restoration?" asks researcher Philippe Theophanidis. "To preserve the film as close to its original form?"
  • For Criterion, Ella Taylor hones in on the many nuances and emotional complications of Kristen Stewart's turn in 2014's Clouds of Sils Maria.
  • For Film Comment, Nuri Bilge Ceylan muses on the making of The Wild Pear Tree, as translated by Yonca Talu.
  • Among world premieres and experimental shorts, this year's BFI London Film Festival will also screen a "a selection of Victorian films on an IMAX, with a lecturer and live band, as they were originally shown." For The Guardian, Pamela Hutchinson details the acquisition of the stunning footage.
  • For Reverse Shot, Nick Pinkerton explores the deceptive ambitions of Ryûsuke Hamaguchi's Asako I & II. Daniel Kasman interviewed Hamaguchi for Notebook when the film premiered in Cannes earlier this year.
  • A two-part recording of an essential panel discussion presented by the Museum of the Moving Image, entitled "Long Live the Village Voice Film Section," features insight from Village Voice critics Michael Atkinson, Bilge Ebiri, David Edelstein, J. Hoberman, Jonas Mekas, Nick Pinkerton, Amy Taubin, and Stephanie Zacharek.
  • Another stellar and thought-provoking panel, this time on the "Asian and Asian American experience on and off screen." Commentators are Andrew Chan of the Criterion Collection, David Ninh of Kino Lorber, critic and professor Genevieve Yue, and filmmaker Andrew Ahn. The recording also includes a nod to Notebook's Kelley Dong, and her review of Crazy Rich Asians.
  • In a wide-ranging interview, Pedro Emilio Segura Bernal speaks with Carlos Reygadas, who discusses acting in his latest film, Our Time, the influence of Mexican art, class politics, and bullfighting.
  • "Varda memes herself," writes Caspar Salmon, in his critique of the "memefication" of Agnès Varda and the way she plays with her own image—and those of others—in her film, Faces Places.
  • Filmap—a blog dedicated to locating the geographic basis of far flung scenes from throughout cinema—has made another remarkable discovery with The Wachowski's (underrated!) Jupiter Ascending and Bilbao, Spain:
  • IndieWire's Tambay Obenson has provided a rich and informative overview of the life and career of Paulin Vierya in this thread of tweets.

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