Weekly Rushes: Cahiers Top 10, Hopper's Records, Wes Anderson Returns, Tarkovsky's Notes

NEWS

• Cahiers du Cinéma has revealed its Top 10 of 2016:

1. Toni Erdmann (Maren Ade)
2. Elle (Paul Verhoeven)
3. The Neon Demon (Nicolas Winding Refn)
4. Aquarius (Kleber Mendonça Filho)
5. Ma Loute (Bruno Dumont)
6. Julieta (Pedro Almodóvar)
7. Rester Vertical (Alain Guiraudie)
8. La loi de la jungle (Antonin Peretjatko)
9. Carol (Todd Haynes)
10. Le bois dont les rêves sont faits (Claire Simon)

• Slamdance Film Festival has announced its 23rd edition, starting with its narrative and documentary feature film competition lineup. Variety has the full announcement.

• Dennis Hopper's personal record collection is now on sale via Moda Operandi.

RECOMMENDED VIEWING

• Wes Anderson has delivered a Christmas themed advertisement for H&M.

• Pietro Marcello's Lost and Beautiful gets a gorgeous new trailer via Grasshopper Film.

• A welcome meeting between three giants of world cinema: Q&A with Carlos Reygadas & Apichatpong Weerasethakul introduced by Béla Tarr.

RECOMMENDED READING

• The ambitious new issue of LOLA is now available, and it includes a touching tribute to film critic Shigehiko Hasumi as well as an expansive collaborative project concerning obscure films.

• Over at Sight & Sound, Notebook contributor Celluloid Liberation Front reports on the political works found at the 4th edition of the Duhok International Film Festival.

"I had a strange dream last night: I was looking up at the sky, and it was very, very light, and soft; and high, high above me it seemed to be slowly boiling, like light that had materialized, like the fibres of a sunlit fabric, like silken, living stitches in a piece of Japanese embroidery. And those tiny fibres, light-bearing, living threads, seemed to be moving and floating and becoming like birds, hovering, so high up that they could never be reached."

• Above: This Recording has compiled nearly a years worth of personal notes made by Andrei Tarkovsky.

• At Film Comment, Paul Schrader writes incisively on Yasujiro Ozu's artistic project.

"Although Dinner at Eight is ranked as a classic “comedy,” it has far less in common with the post-vaudevillian slapstick of Animal Crackers (which Kaufman wrote for the Marx Brothers in 1928) than with the acerbic psychological portrayals of All About Eve (which Joseph Mankiewicz would write and direct for the screen in 1950). For while the film initially showcases the quick repartee and exaggerated facial expressions of the era’s comedies, it quickly becomes a complex social satire which concerns itself with an array of human frailties—and which remains strikingly of the moment."

• Author Amor Towles considers George Cukor's Dinner at Eight for the Library of America's column The Moviegoer.

EXTRAS

• Designer Jordan Bolton continues his deconstructive poster series with his treatment of Lost In Translation.