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The Noteworthy: Locarno 66, Denis in Conversation, "Notes on the Extant Films of Mikio Naruse"

New Film Comment, The Dissolve launches, Rosenbaum on Greed, Naruse expounded, Asia Argento’s Vine, and more.

Edited by Adam Cook


  • Pitchfork's new film criticism sister site, The Dissolve, has opened its doors.


  • Above: via Jonathan Rosenbaum, his introduction to Erich von Stroheim's Greed at the 2013 Greater St. Louis Humanities Festival.

"Were we to emulate the Biblical terminology Il Cinema Ritrovato employs to describe one of its sections and apply it to the festival experience as a whole, rather than a Paradise the Bologna festival is more like a guilt-free Purgatory, a place of “sinful” indulgence bar the punishment. From the Judaeo-Christian Eden mankind was thrown out due to Eve’s lascivious apple-picking; at Il Cinema Ritrovato apples are plentiful and lustful ingestions of forbidden fruits are welcome. If access to Paradise is granted via chastity and repentance, this festival’s bounty of tempting offerings calls for an unrestricted libido of the imagination, the boundless ecstasy of feminine eros rather than masculine haste."

  • Andrew Bujalski takes a look at "a few samples of adventures in early video" for Film Comment.

  • Above: we're not exactly sure when this came to be, but no one seemed to notice, so here's an ad Michael Mann shot for Rolex in Hong Kong, perhaps during production there on his new film.

  • Above: via the Walker Art Center, Claire Denis in conversation with Eric Hynes.
  • Are you following Asia Argento on Vine? If you're not, you should be. Here are a couple reasons why:

  • An invaluable find from Dan Sallitt: "Notes on the Extant Films of Mikio Naruse", a collection of short reviews spanning Naruse's entire career, downloadable in PDF.

  • Above: after a rather awful clip of the film went up some time ago, this great trailer is worthy of rekindling your interest in Paul Schrader's The Canyons.

  • Above: We tweeted about this audiovisual essay by Cristina Álvarez López and Adrian Martin a while back but forgot to give it its due here.

From the archives.

  •  Speaking of Mikio Naruse, here's Michael Koresky's essay that accompanied Criterion's Eclipse release of "Silent Naruse":

"The cinema of Mikio Naruse is one of heartbreak but also one of indomitable poise. Melodrama is the director’s stock-in-trade. His stories are inhabited by people, generally women, imprisoned in their domestic and professional circumstances by the status quo, and hinge on tragic accidents and other twists of fate. But despite these dramatic trappings, his films are infused with a remarkable realism and pragmatism—they are not simply portraits of ordinary folks in extraordinary emotional situations but reflections of everyday life, with vivid material presence and indelible figures who remain outwardly serene even as battles rage within. Naruse’s characters’ acquiescence to the way things are exemplifies the Japanese term mono no aware, which describes a resignation to life’s sadness. Akira Kurosawa once characterized Naruse’s style as 'like a great river with a calm surface and a raging current in its depths.'”

Is Fabrice Aragno using model train track as rails in that picture?
I think it’s very nice of Film Comment to throw their old friend Paul Schrader a bone. That was very nice. I don’t think their redirect is going to help overcome how bloody awful The Canyons is, though (and it is bloody, bloody awful).
Naruse For those who can read French, do not miss Jean Narboni’s book. And for those who appreciate Larry Clark’s cinema, enjoy weekly reports of his new work (shot in Paris) – “A Summer With Larry Clark’s Kids” marie

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