Prolific title designer Wayne Fitzgerald, who created the titles for films like The Godfather, Touch of Evil, and even Beverly Hills Ninja, has died. You can find the many infamous title cards designed by Fitzgerald on Annyas.
The official trailer for Martin Scorsese's The Irishman, as introduced by Robert De Niro on Jimmy Fallon. Read our review of the film from the New York Film Festival here.
The 4K restoration of Béla Tarr's slow cinema masterpiece, Sátántangó (1994), about a collective of Hungarian villagers seeking refuge during the fall of communism.
Kazuo Hara's latest, Reiwa Uprising, follows "Ayumi Yasutomi, a cross-dressing candidate, who is also a Tokyo University professor, as she embarks on a national campaign for a seat in Japan's Upper House."
For Sight & Sound, critic Charlie Lyne delves into video-sharing platform TikTok and its potential as a site for "21st-century criticism."
Martin Scorsese and Quentin Tarantino by André Carrilho
The Directors Guild of America has published a recent conversation between Martin Scorsese and Quentin Tarantino, who discuss pacing, violence, and John Ford.
We've previously touched upon the TikTok app and its "outlandish and surreal disposition." For The New Yorker, Jia Tolentino investigates the app's algorithm for content curation: "The platform is an enormous meme factory, compressing the world into pellets of virality and dispensing those pellets until you get full or fall asleep."
Christian Marclay's 48 War Movies
Amy Taubin reviews Christian Marclay's 48 War Movies, a "kinetic" single-channel video installation that "digitally [layers] forty-eight feature-length war films, each slightly larger than the one which almost conceals it, so that only the four outer edges of each film’s frame are visible."
Jean-Pierre Melville's mentee, Bertrand Tavernier, overviews the filmography of his "father in the art," from the films inspired by French history to those inspired by "a fascination with the United States."
RECENTLY ON THE NOTEBOOK
Henri de Corinth interviews Philippe Grandrieux, whose recent gallery installation in Hong Kong features a new piece, The Scream, "a 63-minute sequence depicting nude bodies engaged in variations of cathartic experience."
Following the premiere of To the End of the Earth at TIFF, Kiyoshi Kurosawa and Lawrence Garcia discuss the film's script, shooting process, and its similarities to Kurosawa's horror entries.
Yaron Dahan considers the provocative works of Israeli filmmaker David Avidan, who "had the courage to go against the grain of Israeli poetry to define himself as a transmedia artist, a futurist, and internationalist poet."
is a daily, international film publication. Our mission is to guide film lovers searching, lost or adrift in an overwhelming sea of content. We offer text, images, sounds and video as critical maps, passways and illuminations to the worlds of contemporary and classic film. Notebook is a MUBI publication.