Chinese mega-director Feng Xiaogang (Aftershock) won top prize, the Golden Shell, as well as Best Actress, at the San Sebastien Film Festival last month, and we're super intrigued by this irised (!) trailer.
We think Jim Jarmusch's Paterson is one of the best films of the year. Amazon has cut an unexpectedly lovely trailer for it, though—warning—it has some minor spoilers throughout.
Okay, this isn't exactly a film, but we simply cannot wait for the new season of Twin Peaks—and speaking of film, Twin Peaks: Fire Walk with Me is one of the greatest of the last 25 years—so this teaser of composer Angelo Badalamenti floating through trees, playing keyboards has got us all kinds of excited.
Event Horizon, playing in the New York Film Festival's Projections program.
People speak like people everywhere, and their visual absence evokes and precludes efforts to stereotype them. Though its aesthetic is spare, Foyer is as rich a conjuring of off-screen space and the tenors of the human voice that fill it as any movie I’ve seen in years. And in embracing the most elemental of cinematic figures, it obviates the features that separate peoples and cultures, just as it dissolves distinctions between film and digital.
You wouldn’t believe how many people think that Marcos is a hero. They don’t realize, or they just forgot, that this guy plundered our National Treasury for about 10 billion dollars. He emptied the banks, man ! He murdered and tortured a lot of people, he put the country on the brink of oblivion during his reign. They just forgot about it. This is the result of revisionism. Come to the Philippines, take a cab and the taxi driver will start telling you all the myths about Marcos. He will tell you that if we have highways in the Philippines we must thank our great man Marcos. This is absolutely false...
Tavernier approaches his subject not only as a film lover but also as a film director who knows his way around a set, a man with an inexhaustible appetite for dish about behind-the-scenes goings on and an insatiable curiosity for what makes movies tick, how certain effects are achieved and how things are actually pulled off. (Too young for the New Wave, he is old enough to have met practically everyone, for the lifespan of cinema is only that of two men.) This, again, is a vital and very frequently ignored part of the duty of the film cultural commentariat, usually elided for less knowledge-intensive and demanding approaches like amateur sociology, adjectival avalanches, or How Did This Movie Make Me Feel?
The films Jacques Becker made in a remarkable run between the mid-Forties and the mid-Fifties—including two melancholic crime dramas (Casque d’Or and Touchez pas au grisbi) and three under-seen, tonally unpredictable comedies (Antoine and Antoinette; Rendez-vous in July; Édouard et Caroline)—tend to ripen in an atmosphere of patient observation, letting their characters make an impression slowly and accumulating local and period detail as they move.
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