The teaser trailer for Damien Chazelle's follow-up to Whiplash, the Ryan Gosling and Emma Stone musical La La Land.
For the Criterion Collection, Joshau Oppenhaimer, director of the controversial documentaries The Act of Killing and The Look of Silence, introduces Alain Resnais' powerful Holocaust essay film, Night and Fog.
As for Ms. Jones’s given occupation as a transit worker, it leaves me, once again, annoyed by the optics. If the other Ghostbusters were, say, Ms. Henson, Jada Pinkett Smith and Gabourey Sidibe as the scientists, and Ms. Jones’s Patty was still the subway worker, who’d care? But under the circumstances, it just seems like the same questionable, stay-in-your-place choice that movies have always made for black performers — and an excuse for the plot to ride the subway. But, look: She’s an equal member of the team and black people work in public transit. Politics!
Jean Renoir adored McCarey, once stating that he “understands people better perhaps than anyone else in Hollywood.” McCarey was parochial and universal. His approach was, as the saying goes, “revolutionary,” though like more than a few revolutionary artists he found the prospect of actual revolution abhorrent. He was both devout Catholic and a right-winger—and a sharp satirist of the institutions which he held dear.
As a fifteen-year-old Pop Art aficionado wandering through the Whitney Museum’s 1964 Sculpture Annual, I discovered Conner’s work in the form of the assemblage Couch. There was no warning. It was like rounding a corner and bumping into Death or seeing the title Faster Pussycat! Kill! Kill! on a 42nd Street marquee. I couldn’t believe my eyes.
For Criterion, programmer extraordinaire James Quandt has written on Resnais' follow-up to Last Year in Marienbad, his 1963 masterpiece Muriel, or The Time of Return:
Like the man who asks where the center of the city is only to be told that he is already in it, Muriel’s viewer may be left grasping for narrative and temporal coordinates. The film’s anxious, shardlike editing—Resnais claimed that the cuts numbered close to a thousand, though others have subtracted a hundred or two from that total—detailed in Cayrol’s script and ostentatiously announced by that initial cubist fusillade, further confounds the sense of duration and chronology, despite the scenario’s linear, symmetrical five-act structure.
BAKER, 2:51 PM: I’m very interested in what people sound like when they’re recounting the plot or details from a movie they love. One of the first things that I wrote for The Flick was an incredibly long summary of Apocalypse Now [Francis Ford Coppola, 1979] by the young man in the play . . . And when my best friend and I were traveling in Sicily when we were 18 and sitting for hours in hot train stations, we would tell each other the plots, beat by beat, or as beat by beat as we could manage, of movies one had seen that the other one hadn’t. And I’m weirdly obsessed with The Hunger Games franchise because the trailers uncannily resemble childhood nightmares of mine but I’m too scared to watch the movies. So one Thanksgiving when we were driving back from Washington, DC my brother and his now-wife recounted the entire first The Hunger Games [Gary Ross, 2012] movie to me, together, and they each remembered shots, moments the other one hadn’t, and it took almost an hour, and I was rapt.
"Paradise Vice" by Alan Vega from the soundtrack to Philippe Grandrieux's art-horror film Sombre (1999).The master musician, most famous for his work in the group Suicide, passed away over the weekend.
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