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The Noteworthy: 8 April 2015

An appreciation of John Carpenter's "The Ward", a trailer for Arnaud Desplechin's latest, "How Technicolor Changed Storytelling", and more.
 
  • Above: the 2015 Crossroads Film Festival kicks off on Friday, April 10th, and features Paul Clipson's Hypnosis Display with a live soundtrack by Grouper. Check out the rest of the amazing lineup here.
  • Like everyone, we're devastated that David Lynch will not be directing the Twin Peaks revival season after all.
  • Above: the latest issue of La Furia Umana is online now and includes an intriguing survey of "WHAT'S (NOT) CINEMA BECOMING?"
  • For Cinema Scope, Jordan Cronk writes on this year's True/False Film Festival.
  • For his blog Following Film, Christoph Huber writes on "The Siodmak Variations":
"...Among the many important exile filmmakers which ended up in Hollywood after the Nazis usurped Germany, Siodmak may be the most intriguing. That does not necessarily mean he was the best of the lot, but he had really remarkable careers in three countries: First, at home in Germany up to 1932, and then in France from 1933 to 1939, before he made it to the US. Many emigrants worked elsewhere in Europe on projects before they came to Hollywood, with these crucial moments in their filmographies often neglected, but few managed the constant output Siodmak sustained not only through these critical times, but almost up to the very end of his career in 1968."
  • Another French auteur is not debuting a new film this year: Olivier Assayas, whose American-financed Idol's Eye starring Robert De Niro and Robert Pattinson was shut down 24 hours before shooting last year. The director opens up about the experience, via The Playlist.
  • I don't think anyone saw this coming: American independent filmmaker Alex Ross Perry will be writing a live action adaptation of Winnie the Pooh.
 
"...The secret to Oliveira’s vastly time-spanning art is its intimacy; his films don’t stride across time with Jovian thunder but catch glimmers and reflections of celestial light in modest, daily settings. It’s as if he were playing, with a childlike whimsy, a game of historical Twister, keeping one foot in the centuries of the ancient classics and the other on neon-lit city streets."
  • Occasioned by Technicolor's centennial, Adrienne Lafrance writes on "How Technicolor Changed Storytelling" for The Atlantic.
  • Scott Macaulay of Filmmaker Magazine on "The Sound of Helicopters in Apocalypse Now".
  • For Sight & Sound, Michael Pattison asks "is the essay film the natural stalking ground for cinema’s lone crusaders?":
"Essay films seem especially suited to the urban, precisely because they encompass a mode of cinematic expression inclined toward the wandering philosopher (the meandering flâneur), a subjective polemic and a feisty oppositional politics. Consider Tokyo as experienced through Marker (Sans Soleil, 1982), New York through Akerman (News from Home, 1976), Helsinki through Von Bagh (Helsinki Forever, 2008), Birmingham and London through Akomfrah (Handsworth Songs, 1986), Bucharest through Farocki and Ujica (Videograms of a Revolution, 1992), Los Angeles through Andersen (Los Angeles Plays Itself, 2003/2014) or London through Keiller (London, 1994)."

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