The Noteworthy: Lumière 6, Pedro Costa in Print, Sparking a Joint

News.

  • As reported yesterday, the Toronto International Film Festival has begun unveiling its 2013 lineup, beginning with Gala and Special Presentations.
  • An exciting heads-up and major opportunity for young filmmakers: Tribeca Film Festival is collaborating with the Imagination Series: Film Competition for a filmmaking contest in which screenwriters and directors pitch their conceptual take on a short script by Geoffrey Fletcher (Precious). Five ideas will be produced, and the resulting films will be shown at the 2014 Tribeca Film Festival. With a chance to write and direct an instant-entry at Tribeca, the contest catch phrase makes it sound almost too easy: "No experience required. Just imagination."
  • Lumière is soon to be releasing their 6th issue in print (check the Table of Contents here). Online you can find a piece on Gregory J. Markopoulos by our own David Phelps, as well as a conversation with Nathaniel Dorsky conducted by Francisco Algarín Navarro and Félix García de Villegas.

"Casa de Lava is a 1994 film by Portuguese filmmaker Pedro Costa. 35 years old at the time, he traveled to the islands of Cape Verde in the Atlantic Ocean to shoot this second feature.

During the course of the production preparation, he compiled what he saw, what he read, his many ideas and images into a scrapbook instead of a screenplay. Paintings, movie stills, letters, newspaper articles, scribbles, quotes from novels, postcards, lines of dialogue, snapshots that guided him throughout the shooting of the film and that he continued – and finished – after returning to Lisboa.

Reproducing the original book in full color, we’ve included an exclusiveinterview with Pedro Costa by Nuno Crespo and a text by Philippe Azoury (both in portuguese, english and french)."

Finds.

  • Above: "Whiskey with Milk", a video essay by Ricardo Vieira Lisboa on hand gestures in two films by Raoul Walsh, made for the Portugeuse online journal À pala de Walsh.

From the archives.

  • Here's Max Goldberg's interview with Nathaniel Dorsky from Cinema Scope #46:

"Our age does not really merit the richly endowed materiality of Nathaniel Dorsky’s short films, and yet they now arrive with greater frequency than at any other point during his many decades at work. His lyrical gifts were apparent from an early age—A Fall Trip Home (1964), made when he was only 20, has a delicate pathos uncommon for that era’s New York avant garde. Dorsky relocated to San Francisco in the 1970s and went unheard from until Hours for Jerome (1982), a dazzling tour of many years’ worth of intimate footage. Variations (1998) was the first film for which he shot fresh footage expressly for the open montage style (sometimes called polyvalent montage) he first envisioned in his twenties; at that point, what had once seemed a wayward filmography began to cohere. The intuitive congruence of cinematography and montage in the masterful films comprising his recent “Quartet”—and especially those three (Winter, 2007; Sarabande, 2008; Compline, 2009) through which he bid reluctant farewell to Kodachrome—breathes new life into the dream of a transcendental cinema."

Responses

3 responses to this post.  Join the discussion

  • Yusuf Copan

    “Malick couldn’t be reached about the latest allegations.” At least one thing about the lawsuit isn’t weird.

  • Scorpio Velvet

    Why so much hatred for Malick? He’s a brilliant artistic filmmaker with some incredible masterpieces, such as THE THIN RED LINE (1998) and DAYS OF HEAVEN (1978). I just still don’t know why he left filmmaking for more than 20 years.

  • Dmitry Martov

    “…Max Nelson’s interview with Nathaniel Dorsky…”

    That should be Max Goldberg, not Nelson.

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