Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.
Above: Bound to get taken offline by the time you read this, hurry up and watch Star War Wars: All 6 Films At Once (Full Length)
Wallace Shawn and Andre Gregory visit the famed closet of the Criterion Collection and recount their experiences encountering Godard's Weekend and films by Antonioni.
At the invaluable chrismarker.org, Chris Marker's short film 2084 (1984) has been remixed.
At its premiere at the Berlinale, Queen of the Desert, Werner Herzog's long-awaited return to epic filmmaking, garnered an unfortunate, uneven response. Now the full trailer for the film is out, and we hope it grows in our estimation upon re-viewing. As a recap, read impressions from Daniel Kasman and Adam Cook, as well as our interview with long-time Herzog cinematographer Peter Zeitlinger about working on the film.
At the A.V. Club, our favorite Michael Mann-ian Ignatiy Vishnevetsky honors 1995's Heat.
Adrian Martin has written Girish Shambu a letter about the latter's new book, The New Cinephilia:
"Is there a bridging experience of some kinds of community, of collectivity, between the modern monad at her or his laptop, and that big, wide world of Oliveira-uncomprehending masses out there, who we may hope to one day touch and convert in a public hall, a classroom, or a decently-selling printed book? This, to me, is the central question raised by your book."
Above: a new trailer for a restoration of Maurice Pialat's Loulou, starring Isabelle Huppert and Gerard Depardieu.
The latest issue of essential webzine Senses of Cinema is out and full of plenty of goodies. Of special note is the migration of intelligent criticism of Michael Bay from outsider publications like ourselves to canonical institutions like Senses.
Via Moviebarcode, the colors of Katsuhiro Otomo's anime classic Akira.
"The heels come across as a joke, or at least that’s how the filmmakers attempt to skew them, with Owen telling Claire that they’re “ridiculous.” That Claire can actually run from dinosaurs, over cement and through mud, without breaking a heel off or twisting her ankle like a film-noir dame, is played as a kind of triumph. Of course it’s a hollow one and it’s representative of how the filmmakers like to point out the very clichés (genre, gender, whatever) they embrace, as if merely acknowledging them were a critical move."
Jurassic World came out last week and to be honest we're not interested, but some of the criticism it has spawned has been great. That's Manohla Dargis in the New York Times, above. Below, Armond White on Chris Pratt in Jurassic World, a nice piece exploring the film's attempt at finding an icon in the new action star.
"It’s easy to imagine Pratt providing one-note effectiveness in a Josef Von Sternberg silent erotic masterpiece, playing stevedore roles like George O’Brien in The Docks of New York or in Murnau’s Sunrise where a big man’s physical heft was erotically magnetizing and then drew one into his spiritual being."
The Museum of Modern Art in New York is accompanying its "Scorsese Collects" poster exhibition with "Scorsese Screens," a series that "illuminates the conjunction of graphic and cinematic influences that shaped Martin Scorsese’s aesthetic," and includes films by Jacques Tourneur, Max Ophüls, Michael Powell and Emeric Pressburger, and more.
Above: We three things we adore come together in Keyframe's new video essay: Hou Hsiao-hsien, his under-appreciated (but growing in reputation) 2001 film Millennium Mambo, and video essays by Adrian Martin and Cristina Álvarez López.
It's Nice That reveals some previously unseen photos of Brigitte Bardot taken in 1968 while the actress was in London promoting Shalako.
Also previously (almost) unseen but no doubt far more rewarding, a triptych version of Kenneth Anger's landmark avant-garde film Inauguration of the Pleasure Dome will screen in Paris on June 25.
is a daily, international film publication. Our mission is to guide film lovers searching, lost or adrift in an overwhelming sea of content. We offer text, images, sounds and video as critical maps, passways and illuminations to the worlds of contemporary and classic film. Notebook is a MUBI publication.