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Rushes: Tscherkassky’s MUBI, Bong Joon-ho, Cinema Behind Bars

This week’s essential news, articles, sounds, videos and more from the film world.
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.
  • Avant-garde filmmaker Peter Tscherkassky has provided a new ident for MUBI that displays his "sensory and tactile view on cinema." The ident features strips of film negative overlapping and whirring to the sounds of a passing train.
  • The official trailer for Clint Eastwood's Richard Jewell, based on the true story of a security guard falsely accused of planting a bomb at the 1996 Olympics.
  • An investigation into the "real fake cameras" used to create Toy Story 4, which emulates a variety of camera lenses, from anamorphic to spherical.
  • The elusive Roger Avary, co-writer of Pulp Fiction and director of The Rules of Attraction, returns from a long hiatus with what looks to be a delightful crime romp complete with Crispin Glover as a fake Frenchman-assassin.
  • Mati Diop's Atlantics, which follows a woman in Dakar waiting for her lover, who returns as a spirit after disappearing out at sea. Read our review of Diop's "dreamy elucidation" here.
  • Grasshopper Film's trailer for Paul Harrill's Light From Light, which premiered at this year's Sundance Film Festival. Harrill's film, Something Anything, previously showed on MUBI in 2016—read his interview with Darren Hughes here.
Bong Joon-ho by Robert Maxwell for Vulture
  • E. Alex Jung profiles Bong Joon-ho, and provides an overview of the "underdogs fighting against authoritarian forces" prevalent throughout his filmography. Read our review of the film here.
  • Erika Balsom reviews theorist Laura Mulvey's new collection Afterimages: On Cinema, Women and Changing Times, which updates her views on cinema through an approach that fuses psychoanalysis and feminism.
  • The Miami Herald has released footage of a documentary, Behind Tha Barb Wire, filmed by Scott Whitney, an inmate incarcerated in Florida's Martin Correctional Institution. Filmed through cameras hidden in books and glasses, the videos reveal a world of violence and corruption enabled by law enforcement.
David Fincher's Fight Club (1999).
  • Looking back on David Fincher's Fight Club 20 years later, Steve Erickson discusses the latent homoeroticism of the film, from its troubled depiction of heterosexuality to gay panic as a manifestation of "unfulfilled queer potential."
  • Jonathan Rosenbaum, scholar of Orson Welles and all things cinema, has finally weighed in on Netflix’s restoration of The Other Side of the Wind regarding its “radical” filmmaking and the complexities of the reconstruction, of which he was a part of.
  • A deep dive into the weird, expansively cross-media comedy world of Tim Heidecker and Gregg Turkington's "On Cinema at the Cinema," including the new Heidecker led film Mister America.
  • Blake Lucas considers the "experimental" qualities of Alfred Hitchcock's Psycho; Greg Cwik argues that Gus Van Sant's infamous Psycho remake nevertheless prompts bold questions about the audience's relationship to the original.
  • Todd Phillips' Joker is "pandering emptiness" and "pretentious pastiche", writes Forrest Cardamenis.
  • “Cronenberg’s best movies have the capacity to cause a sort of Jungian culture shock.” Just in time for the Halloweens season: Martin Scorsese, by way of screenwriter Jay Cocks, expresses his love for David Cronenberg’s cinema in an old piece for Fangoria.

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