Very exciting news for fans of Richard Linklater (sure to be a much larger number after the wide success of Boyhood): his next feature, Everybody Wants Some, will be the Opening Night Film of the 2016 South by Southwest Film Festival.
Speaking of festival lineups, the Berlin International Film Festival has announced its first major programming strand for 2016: their retrospective will be dedicated to German cinema in 1966.
Rosenbaum's Ten Best Movies of the 90s
It feels like every week Jonathan Rosenbaum (the latest guest, by the way, on the podcast The Cinephiliacs) has republished a fabulous piece of criticism on his website. Most recently, it's his essential list of "the decade's finest" of the 1990s, which includes Edward Yang's A Brighter Summer Day, Jim Jarmusch's Dead Man, Stanley Kubrick's Eyes Wide Shut and Chantal Akerman's D'est.
Michael Haneke's Storyboards
The Criterion Collection has shared a video of Michael Haneke walking us through storyboarding Code Unknown: Incomplete Tales of Several Journeys.
The Greatest Actor Alive
Our vote would be for Jerry Lewis, but Terrence Rafferty's choice of Max von Sydow for The Atlantic is a damn good one as well.
Almost Time for Tenemos
Cinephiles start making plans for summer 2016! The next version of Tenemos, the completely unique, periodic screenings of the most recently restored and assembled part of Gregory Markopoulos's in-progress 80-hour film Eniaios,has been announced.
American indie filmmaker Andrew Bujalski (Computer Chess) has developed a convincing so-called "unified theory of the Rocky movies" for the New Yorker.
It's coming. We're both excited and scared.
An Honest Film Review
Also at the New Yorker, Jesse Eisenberg has penned what he described as an "honest film review":
"When I got back from the bathroom, I asked the critic next to me (from the Times) why the Mob was pursuing Cole, and he whispered that it was the same reason “the French colonel pursued normalcy in Buñuel’s ‘The Discreet Charm of the Bourgeoisie.’ ” No help there. Pretentious jerk."
"I've long been a huge fan of Gina Telaroli's work, and at this point her career feels quite singular in US independent film. Hers is a truly independent cinema: ultra-low budget (Here's to the Future! was made for a meagre $236), fearlessly experimental (particularly in the short video works), and unusually changeable and inventive over the course of a relatively short period of time."
The latest batch of film posters listed at Heritage Auctions has more than a few stunners, but our favorite is this Swedish design for King Vidor's Wine of Youth (1925).
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