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Senses of Cinema 55, Lynch's 90s, Resnais's Next

"Is it in the destiny of certain filmmakers to be in plain view within the borders of their national cinemas, yet out of sight in an international context?" asks Senses of Cinema editor Rolando Caputo. "Film history, no doubt, throws up many examples, but in this day and age of the global market place one would think otherwise. "The raison d'etre to Marco Abel's interview with [Dominik] Graf that leads off our new issue is precisely to bring Graf's work to the attention of an international audience, to, in effect, do the work of translating the 'local' into the 'global.'"

Running more or less parallel to that interview is a collection of articles by Michael Baute, Ekkehard Knörer (who pinpoints a decisive passage in the Graf interview at Cargo), Volker Pantenburg, Stefan Pethke and Simon Rothöhler gathered under the umbrella title, "The Berlin School: A Collage."

Also in this issue: Drehli Robnik on film historian and theorist Thomas Elsaesser, Marsha McCreadie on Fassbinder, Tiago de Luca on Carlos Reygadas, Max Cavitch on gay porn magnate Michael Lucas, Bruce Jackson on Arthur Penn's Night Moves (1975), Pedro Blas Gonzalez on Truffaut's Fahrenheit 451 (1966), Robert Farmer on Louise Brooks, Adrian Danks on Godard and Anna Karina, Tom Stempel on Darryl F Zanuck, Charles Barr on Francis Ford in John Ford's films and Jane Mills on Baz Luhrmann's Australia (2008).

Plus: More pieces on "Key Moments in Australian Cinema," festival reports, book reviews and Cinémathèque annotations and one new addition to the Great Directors database: Matt Losada on Fernando Solanas.

The July/August issue of the Brooklyn Rail is up, featuring David N Meyer on Jules Dassin's The Law and Sebastian Junger and Tim Hetherington's Restrepo, David Wilentz on Japan Cuts (running through Friday) and Ethan Spigland on Kaji Meiko, Okada Mariko and Wakao Ayako, Julia Sirmons on Godard and on Antonioni's Red Desert, Sarahjane Blum on Vikram Jayanti's The Agony and the Ecstasy of Phil Spector and Hamilton Morris on Étienne Sauret's Dirty Pictures. Plus, the 2010 Summer Reading List.

"Overviews of David Lynch's career tend to emphasize his debut, Eraserhead, his breakthrough Blue Velvet, or his later masterpiece Mulholland Drive as exemplars of his highly idiosyncratic sensibilities. None of these films were made in the 1990s, and yet that very decade found him at his most prolific, not to mention his most prominent in the public consciousness in all of his thirty-plus year career." Not Coming to a Theater Near You will be spending this week revisiting the work of that decade. Meantime, Dennis Grunes offers a few comments on an unaired pilot episode for a projected Mulholland Dr TV series. Image: Lost Highway (1997).

"Among the six feature film screenplays selected at the start of July by the second advance on receipts committee of the National Film and Moving Image Centre (CNC) is Alain Resnais's Vous N'avez Encore Rien Vu (You Haven't Seen Anything Yet)," reports Fabien Lemercier for Cineuropa. "Co-scripted by the director (in competition at Cannes last year with Wild Grass) and Laurent Herbiet, the film is adapted from Jean Anouilh's stage play Eurydice in which violinist Orphée and touring actress Eurydice leave everything behind to fulfil their love. But jealousy takes hold of Orphée...."

Glenn Kenny remembers Tuli Kupferberg, "the writer and poet and anarchist and guiding spirit of The Fugs and so many other vital artistic movements and moments." He was 86.

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