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Weekly Rushes. Remembering “Ali,” Cronenberg’s “Total Recall,” Trailers Galore, the Great Sammo Hung

This week’s essential news, articles, sounds, videos and more from the film world.
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.
  • A great trailer for Morris from America, Chad Hartigan's Sundance-winning follow-up to This Is Martin Bonner (2013).
  • After Hou Hsiao-hsien, Hong Sang-soo and Tsai Ming-liang all made movies in France, our wish list of favorite Asian filmmakers we'd love to shoot in the land of cinephilia has considerable shortened. But there's at least one name we're excited about: Japanese horror maestro Kiyoshi Kurosawa's eerily titled The Woman in the Silver Plate will be his French debut (starring Olivier Gourmet, Mathieu Amalric and Tahar Rahim), following up this year's terrific Creepy.
  • We're super stoked for Anna Biller's new film, The Love Witch. It'll be showing at BAMcinemafest this month, with a U.S. theatrical release later in the fall.
  • We missed Ken Loach's I, Daniel Blake at the Cannes Film of course it went on to win the Palme d'Or! The U.K. trailer gives us more than a hint of what it will be like.
In the early days, in one of my meetings with Ali, he said one of the most important concerns to him was that there be no idolatry. No sugarcoating.  He made mistakes and he wanted all of them included. His life was his life, and he was proud of the totality of it and would not want it diminished by hagiography. 
I suspect only prigs are completely immune to the delights of whole foreign environments—whether antique, exotically international, familiar but exaggerated, or just plain fantastical—that have been erected, populated, and photographed for no better reason than to knock our socks off. For my money, Intolerance is where fake movie architecture began its complicated dance with the real thing, affecting how audiences perceive the past, reconfigure their present, and anticipate the future
“La Chienne” is a ferocious, bitterly ironic drama, a diabolical satire on bourgeois hypocrisy that replaces complicitous laughter with accusatory roars of derision. 

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