A surprise new short from Jonathan Glazer, entitled The Fall, dropped on BBC Two with little introduction on Sunday night, exposing viewers to 7 minutes of mob violence. “The day I saw a picture of the Trump sons grinning with a dead leopard,” Glazer says, was the inspiration for the harrowing visual centerpiece of the film.
The official U.S. trailer for Ken Loach's drama Sorry We Missed You, about a man who decides to be his own boss, only to fall into a harsh and unrelenting gig economy.
Diao Yinan returns with The Wild Goose Lake, which follows a gangster and a call-girl on the run from the police. Read our review of the film here.
Dennis Hopper, "Peter Fonda (With Tripod)" (1966)
On The Guardian, an exclusive look at photographs from Dennis Hopper: In Dreams, a new book that reveals the Easy Rider actor's parallel career as a photographer throughout the 1960s.
Hyperallergic is now streaming Kevin Jerome Everson's Ears, Nose, and Throat, accompanied by an interview with the prolific filmmaker, who discusses "the importance of seeing art-making as another form of labor." Everson was previously the subject of a MUBI retrospective from September-November of 2018.
“One of the stranger things about the history of moviemaking is that women have been there all along, periodically exercising real power behind the camera, yet their names and contributions keep disappearing, as though security had been called, again and again, to escort them from the set.” Margaret Talbot asks and explores the question of what happened to women’s contributions to the formation of the Hollywood industry and its cinema.
CBC has assembled an invaluable roundtable of responses from members of the trans community to Kimberly Peirce's controversial Boys Don't Cry. From MUBI contributor Caden Mark Gardner: "Boys Don't Cry is still, by default, the most well-known film of a trans male lead 20 years later — which should be considered more damning than praiseworthy."
Errol Morris by Kathya Maria Landeros for The New Yorker.
Errol Morris opens up about his career and his latest contentious film American Dharma, which concerns the conservative political strategist Steve Bannon, in this challenging interview with The New Yorker.
Matt Zoller-Seitz investigates the increasing number of Fox films being placed into the Disney vault, due to a new policy regarding back-catalogue films, and its effect on repertory theaters and the survival of titles by under-represented or forgotten independent films.
In an excerpt from Luc Dardenne's diaries, Dardenne writes of art's role in changing the world, the shooting of La Promesse (1996), and the writing of philosopher Ernst Bloch.
RECENTLY ON THE NOTEBOOK
Why are the films of American independent director Sara Driver not better known? Jonathan Rosenbaum challenges the surrealist patriarchy with his read on Driver's two fiction features, both of which are now playing on MUBI in the US.
With Bong Joon-ho’s Parasite now playing in US cinemas, Kelley Dong weighs the film’s political ambitions.
Christopher Small reviews the new feature film by artist Matthew Barney, which adapts the myth of Diana and Acteon into a story of American hunting and guns.
Meanwhile, dozens of out of work freelancing designers watched from the sidelines…
We know there’s been a deluge of Orson Welles material around here lately but this we couldn’t pass up.
So prior to filming CHIMES AT MIDNIGHT, Orson Welles mounted some theatrical productions of the Falstaff story in Europe. The photographer @maxwelldipaolo and I work for I guess was hired to do some production stills as promos for the Dublin performance in 1960 and here they are. pic.twitter.com/7FjAaVK07I
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.