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Weekly Rushes. 20 April 2016

Cannes announcements, new Criterions, trailer for the new Johnnie To, Guy Maddin’s “Seances,” Mondo poster for “The Hateful Eight,” & more.
 Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.

  • Of course, the biggest news in the film world over the last week has been the repeated announcements of the films included in the various festivals in Cannes this May, from the Official Selection (films by Almodóvar, Maren Ade, the Dardennes, Paul Verhoeven, and Sean Penn) and the Directors' Fortnight (Paul Schrader, Alejandro Jodorowsky, Marco Bellocchio), to Critics' Week (Oliver Laxe and Chloë Sevigny) and the increasingly higher profile ACID (including Damien Manivel's follow-up to A Young Poet, which is currently playing exclusively on MUBI in the US).
  • Speaking of festivals, many South Korean filmmakers will be boycotting the major Asian festival of Busan, due to interference with the organization from the city government.
  • On a lighter note, the Loch Ness Monster has been found! Actually, no: that's no monster, it's a prop from a Billy Wilder movie.
  • Like many, we await the announcement of the Criterion Collection's next batch of releases with bated breath. Well, the wait is over for July: Terrence Malick's The New World, two Alain Resnais films on Blu-ray, King Hu's A Touch of Zen (featuring its exquisite re-release poster), and more.
  • It may not be in Cannes, but Johnnie To's Three is nevertheless one of our most anticipated films of the year. This 1 minute trailer is not enough!
  • Finally, Seances! The promised interactive film project from the masterminds behind The Forbidden Room, Guy Maddin, Evan Johnson and Galen Johnson. (We spoke to Guy and Evan about the feature film and the Seances project in Berlin.) In the words of the National Film Board of Canada, Seances is "a new way of experiencing film narrative, framed through the lens of loss. In a technical feat of data-driven cinematic storytelling, films are dynamically assembled in never-to-be-repeated configurations."
  • We must admit approaching this one with a degree of skepticism: Nicolas Winding Refn's The Neon Demon. Only Cannes—where it will premiere in competition—will tell.
  • The new issue (Volume 4, Issue 1, for those keeping track) of film journal cléo is out, themed around "Risk," with articles on Sicario, Catherine Breillat, Anna May Wong, and more. In her editor's note, Kiva Reardon reflects on what's changed since the publication began:
"Since we work outside the dominant mode of publishing, I can assure you the return on our investment hasn’t been financial. The first thing that comes to mind, then, is that over the past three volumes we’ve made space for more bylines by women and non-binary folk writing about film."
  • Do you read French? If so, lucky you! we've been tipped that Chris Marker's 1982 book Le dépays is available to read online. Even if you don't speak French, the photos (taken by Marker in Japan) are amazing.
  • Another new issue of another favorite online journal is out. Comparative Cinema's latest release tackles how "filmmakers think TV," looking at the various strategies of Roberto Rossellini, Jean-Luc Godard, and Alexander Kluge, among many others. In their editorial introduction, Manuel Garin and Gonzalo de Lucas remind us that serious television is hardly a new phenomenon:
"Since the Fifties, the television projects of many filmmakers implied an aesthetic and political dimension: a quest to widen both mediums, to explore new pedagogic and creative possibilities in a sort of fiction lab that bridged different genres and artistic disciplines: History, art and philosophy (Rossellini, Godard, Rohmer, Marker, Kluge, Watkins, Warhol), theatre and the novel (Bergman or Fassbinder)."
  • Mondo's lovingly illustrated poster for Quentin Tarantino's The Hateful Eight. (Via /Film.)

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