We won't get properly excited until, first, the cameras are rolling, and second, there's a hope of some kind of release date, but The Film Stage has gathered enough evidence to point towards what Terrence Malick's next film will be: Radegund, about a World War 2 conscientious objector beatified by the Catholic church in 2007.
Lucky Angelenos can attend the newly announced Festival of Disruption; or, more precisely, "David Lynch's Festival of Disruption." "Two full days and nights of music, art, virtual reality, films, talks and more," taking place this October, the music lineup looks ace already, but oh, if only the "virtual reality, films...and more" were new work by Lynch himself!
One of our favorite films from last year, the beguiling and unique quasi-documentary The Academy of Muses, directed by Jose-Luis Guerín (read our interview with him), is finally seeing a release in the U.S. via Grasshopper Film, which has cut the above trailer.
Cohen Media Group is releasing on home video a restored version of Maurice Pialat's Palme d'Or-winning masterpiece, Under the Sun of Satan.
In a less religious (but perhaps no less spiritual?) vein, the trailer for Despite the Night, the new film from French sensual impressionist Philippe Grandrieux.
The story comes from a 1938 play by Harry Segall called Heaven Can Wait. But Twentieth Century-Fox had dibs on the title, and indeed used it two years later for a delightful and wholly unrelated Ernst Lubitsch comedy, thus ensuring years of confusion that only increased when Warren Beatty remade Here Comes Mr. Jordan in 1978 but went back to the name of Segall’s play.
The new generation of Taiwanese directors faced a local cinema divided between commercial genres (action, melodrama, romantic comedy) and government-sponsored “healthy realism” promoting a bucolic, idealized rural life. Like the Italian Neorealists, the New Taiwanese Cinema sought a more humanistic realism. The new films told humdrum but heartfelt stories using non-actors and deglamorized locations.
Meanwhile, from the mainland is Chinese mega-star and mega-director Jiang Wen and his truly indescribable Gone with the Bullets, his follow-up to his hyper-clever (and possibly subversive) blockbuster Let the Bullets Fly (read our take on the former here). Still unreleased in the U.S., Sean Gilman has the best take we've read in English:
Gone with the Bullets does for the musical comedy what The Sun Also Rises did for the period art film and Let the Bullets Fly did for the action film; all are wholly unique, wholly unexpected variations, pushing each genre beyond their conventional notions of realism and into the fantastic. It finds in modernity such a dense web of performance/lies that any kind of truth is unattainable and unsustainable and incommunicable, and asks what the role of the filmmaker then is in such a world.
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