Sofia Coppola has begun shooting her remake of Don Siegel's cult favorite The Beguiled, a genre defying Gothic about a Civil War soldier who recovers from injuries in an all-girl school in an old mansion in the South.
American distributors Kino Lorber have launched a Kickstarter to fund "a collection of landmark American films directed by women, digitally restored from archive film elements." There's 16 days and a little over $10,000 to go to meet their goal. Give a helping hand if you can!
Chinese director Jia Zhangke has opened a noodle restaurant named after his last film, Mountains May Depart, in Shanxi Province's Fenyang, the hometown of Jia and the setting of so many of his great movies. We have no doubt this venture is the proper platform for the unknown pleasures of the director's culinary taste.
Director Rick Alverson (The Comedy, Entertainment) shot the latest Oneohtrix Point Never video, "Animals," and it stars Val Kilmer.
The charming final trailer for Warren Beatty's return to the director's chair after a 14 year absence, the 1950s Hollywood drama Rules Don't Apply.
Speaking of the 1950s (and beyond) the Cinémathèque française has a lovely trailer for their retrospective devoted to Satyajit Ray, which begins today.
Finally, on home turf (as it were), is our own trailer for Tomás Weinreb and Petr Kazda's I, Olga, which we discovered at its world premiere at the Berlin International Film Festival in February and we're bringing to cinemas and MUBI in the United Kingdom this month.
I had been curious to meet Father Amorth for many years. In the early 1970s, when I directed the film The Exorcist, I had not witnessed an exorcism. Maybe this would be an opportunity to complete the circle, to see how close we who worked on the film came to reality or to discover that what we created was sheer invention.
Curtis seems to cherish his place in America as a voice seeping from under the floorboards. In a way, the ruined apocalyptic John Carpenter city appears to be where he wants to live. Even in Britain, Curtis made “Bitter Lake” not for television broadcast but as an experiment in releasing his work to the BBC iPlayer website instead. “HyperNormalisation” had an exclusive iPlayer release as well, on Oct. 16. It has freed him, in “Bitter Lake,” to play with moody, wordless sequences sustained longer than anything in his earlier pieces, and to include violence too disturbing for television broadcast.
“Manchester by the Sea” does not present a blunt parallel with Lonergan’s period of prolonged professional anguish, and it’s safe to say that anyone would gladly take even the most devastating career setback over the loss that Chandler goes through. But the movie does, in some sense, pose the same question that Lonergan faced in the aftermath of “Margaret”: When is a loss—the loss of time, of joy, of energy, of work, of potential—absolute, with nothing to be gained from the devastation?
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