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The Noteworthy: Ka-sheesh, "Illusions & Mirrors", Bordwell on "The Grandmaster"

Kechiche is "cursed", Bordwell examines Wong Kar-wai's _The Grandmaster_, Scorsese talks Rossellini, and more.

Edited by Adam Cook


  • I can barely muster the energy to care, but I can't help but be drawn to the ugly buzz surrounding Cannes darling Blue is the Warmest Color and its collaborators (and I still haven't even seen the darn thing). The Playlist collects some new words from director Abdellatif Kechiche regarding his rocky feelings about starlet Léa Seydoux and the film itself:

"According to me, the film shouldn't be released, it has been soiled too much. The Palme d'Or had been a brief moment of happiness; then I've felt humiliated, dishonored, I felt rejected, I live it like I'm cursed."


  • Rejoice! Every time David Bordwell unveils a new piece in "Observations on film art", it's a much-needed dose of sanity in the cinephile blogosphere. In his latest, he examines Wong Kar-wai's The Grandmaster (multiple versions, no less) with characteristic attentiveness:

"He could be our von Sternberg, were it not for his nervous pace, his habit of teasingly chopping off his pretty shots. Despite his mood-drenched frames, he betrays almost no interest in staging conversations in complex ways. Wong is, in sum, a very cutting-centered director."

  • David Davidson has a piece over at Toronto Film Review wherein he writes on Mark Peranson's two directorial efforts, Waiting for Sancho (2008) and the newly premiered La última película. On the latter, Davidson does a good job of contextualizing the film with its influences and references. Speaking of Peranson, Scott Macaulay of Filmmaker Magazine found some time in Toronto to chat with him about his film.

From the archives.

  • Occasioned by the new Viennale trailer, here are a few of our favorites from the last few years:

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