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Weekly Rushes. 23 December 2015

New Criterion, Berlinale & Locarno films, “Twin Peaks” teaser, the scores of “The Hateful Eight” & “The Knick,” recommended readings & more.
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.

  • Finally! New to the Criterion Collection is Edward Yang's A Brighter Summer's Day, one of the most important yet hard-to-see films of the 1990s. Also included in the recent announcement were Jacques Rivette's Paris Belongs to Us and Les Blank's A Poem Is a Naked Person.
  • There's a new Kickstarter for "first publication on the films of Ola Balogun, the pioneer of Nigerian cinema, analysing/discovering his magical cinema."
  • The Berlin International Film Festival Poster: The Golden Bear on the prowl! Meanwhile, more films for the Berlinale have been announced, as well as the theme—"Traversing the Phantasm"—for the essential Forum Expanded section.
  • The 2016 Locarno Film Festival isn't until next August but we're already tantalized for their newly revealed retrospective, "Beloved and Rejected," dedicated to post-WW2 German cinema and co-curated by Olaf Möller.
  • Twin Peaks tease: " touches something in the psyche..." It isn't much, but we'll take it, a small behind the scenes teaser video for the return of David Lynch's Twin Peaks.
  • Jeanne Dielman, Action Movie!: Critic Adam Cook makes his video essay debut at Indiewire exploring Chantal Akerman's 1975 masterpiece Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles.
  • Everybody Wants Some trailer: Richard Linklater's latest feature, slated for the South by Southwest Film Festival next Spring.
"She is inescapably refined, sensitive, well-born, and almost always modern—she’s the archetype of the post-war young woman. Yet she also embodies the virtues of the traditional Japanese woman: loyalty, self-sacrifice, suffering in silence; she’s the perfect daughter, wife, mother. She was utterly real, yet she represented an ideal…the ideal."
  • Adam Nayman at Reverse Shot on Alejandro González Iñárritu's The Revenant:
"The main difference between The Revenant and, say, Apocalypse Now or Fitzcarraldo—two flawed epics that were, indeed, allegories of themselves and pretty important ventures, all things considered—is that there’s no real madness in it... But the overall impression is of a film that plays by the rules even as its director made an on-set fetish of flouting them.
"Today, the target audience has returned, but in a new form mixing identity politics, market-speak, and the type of 'data analysis' which universities now go crazy for: demographics."
  • Ennio Morricone's score for The Hateful Eight: While the Italian maestro has been quoted by Quentin Tarantino in the past, along with scoring one song for Django Unchained, for the director's upcoming Western Morricone wrote a complete score, which is now listenable online:
  • It's no secret we love the film scores of Cliff Martinez, far and away one of contemporary cinema's great composers. Working often with Steven Soderbergh (we interviewed him for his score on Contagion), Martinez has scored both seasons of the director's turn-of-the-century medical drama for television, The Knick. Now you can listen to Martinez's score, very atypical for a period setting, for the show's second season:

  • Some of the Film Comment team (Violet Lucca, Nicolas Rapold, Amy Taubin and Nick Pinkerton) discuss their recently released Best Films of 2015 poll:
  • Jean Seberg on the set of Otto Preminger's Saint Joan (Via Le Cinéma.)
  • Stan Brakhage as Darth Vader! Image courtesy of Phil Solomon.
Ah, yes, Critics darling Richard Linklater doing one of his patented Mediocre Serious Film For My Rep Movie (Boyhood) Followed By A Fluffy Piece Of Hack Schlock For My Bank Account (Everybody Wants Some) turns. And the guy still – after 15 plus films – has almost no idea on how to frame actors with even a modicum of energy or inventiveness. He’s just not interested in that stuff, I guess.
Good to have you back, Mac—we’ve missed you! Can’t say you are alone in your assessment of Linklater. Though I wouldn’t call him a critics’ darling after so many movies barely written about, let alone seen.

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