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The Noteworthy: Godard on Set, The History of Film, Tracking PTA

Larry Clark's new film wins in Rome & debuts online, Berlinale's "Weimar Touch", J. Hoberman's 21 Films of the 21st Century & more.

Edited by Adam Cook


  • The Rome Film Festival has come to a close and the awards have been handed out. David Hudson has the details at Keyframe. The big winner? Larry Clark's Marfa Girl, which as of today has been independently released online.
  • The Berlin Film Festival has announced its retrospective for February, and it's a particularly inspired choice: "The Weimar Touch," which is "devoted to how cinema from the Weimar Republic influenced international filmmaking after 1933. It will focus on continuities, mutual effects and transformations in the films of German-speaking emigrants up into the 1950s."


  • Above: the trailer for House of Cards, the Netflix exclusive series executive produced by Eric Roth and David Fincher, who directs the pilot.

"Nicholas Ray’s We Can’t Go Home Again begins with a homecoming, like The Lusty Men, where injured rodeo champion Jeff McCloud (Robert Mitchum) returns to the house he grew up in, only to realize that going home can be “like visiting a graveyard.” Jeff has withdrawn from the fray, like the violent cop played by Robert Ryan in On Dangerous Ground, who is sent to assist in a rural murder investigation to get him out of town, or the gunfighter hero of Johnny Guitar (Sterling Hayden), who has seen it all and has no illusions left when he rides up to Vienna’s Saloon at the beginning of the film. Life has surprises in store for all of them, and for the filmmaker, who becomes a Ray hero himself in this cinematic testament."

  •  Above: a poster by Larry Gormley of "The History of Film" (you're going to want to click this one to get a closer look). This intricate graphic took Gormley five years to create and features around 2000 films. The print is available for purchase from HistoryShots.

From the archives.

  • Martin Scorsese turned 70 years old on the 17th. Here's the cineaste on the importance of visual literacy:

The Great Haneke alongside Apatow and Krasinski is inflaming my cognitive dissonance, mainly because Haneke is great and Apatow and Krasinski suck. I don’t care what John Krasinski does for the rest of his career; he could write and direct five incredible films in a row, but I will never forgive him for doing what he did to Wallace’s Brief Interviews with Hideous Men. What an asshole.
Don’t forget what Haneke did to Emmanuelle Riva!
Never mind the fact that Apatow is one of the great comic (and dramatic, for that matter) writers of his generation, and one of the most underrated directors working in Hollywood. (Underrated, I should say, with cinephiles.)
Underrated by American cinephiles maybe, but really overrated by French critics.
It’s unfortunate that this is what a writer roundtable has come to look like in my lifetime.
Oh come now, since when have writers’ roundtables been heights of civilization whose decline we must mourn? Let’s not get carried away here.
Apatow is not one of the great comic and dramatic writers of his time. That is a ridiculous statement and one you don’t really mean. If you had said that about Todd Solondz then you would be on to something. Apatow is a nonstop generator of middlebrow bourgeois horseshit. He’s a very ambitious gag writer with a healthy vulgar streak whose politics are just slightly left of G. Gordon Liddy. Get back to me when his worldview expands beyond “Sometimes you just have to grow up,” which also happens to be the baseline philosphical platform for every spolied-brat from Beverly Hills. I am a man who has had enough of Apatow. I am also a man who doesn’t even have enough money to buy my two daughters the American Girls dolls they want for Christmas, so you should probably take everything I have to say – if you want to take it at all – with a grain, no, an entire shaker of salt. Time for oatmeal.

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