Many artists are not appreciated till after they have long passed away or society catches up with their ideas. Dying is not a prerequisite to fame since garbage is still garbage. In the case of the singular Jean Rollin, you have a double-edged sword which in documentary Orchestrator of Storms: The Fantastique World of Jean Rollin (2022) tells well.
Jean Rollin was one of the later to become Eurocult cinema’s most misunderstood personalities. These creators imbue their personalities in their work, unlike mainstream directors. Mainstream will say they create unique stories or camera angles with the full knowledge that it all comes down to one from a studio. The Diabolique films team of Dima Ballin and Kat Ellinger who Directed, Wrote & Produced this roughly two-hour documentary has done a solid job without being academically dry.
Orchestrator of Storms (2022) features lips and interviews with key people in Rollin’s past. The...
Jean Rollin was one of the later to become Eurocult cinema’s most misunderstood personalities. These creators imbue their personalities in their work, unlike mainstream directors. Mainstream will say they create unique stories or camera angles with the full knowledge that it all comes down to one from a studio. The Diabolique films team of Dima Ballin and Kat Ellinger who Directed, Wrote & Produced this roughly two-hour documentary has done a solid job without being academically dry.
Orchestrator of Storms (2022) features lips and interviews with key people in Rollin’s past. The...
- 3/10/2023
- by Horror Asylum
- Horror Asylum
“…there would remain the terrified feeling of the return.” — Maurice Blanchot, The Step Not Beyond. 1. Whatever else you say about Twin Peaks: The Return, it seems that to talk about it, if you are in good faith, you must begin by talking about the difficulty of talking about it. 2. Twin Peaks: The Return issues some fairly unique challenges to summary or description. It is difficult to describe what is happening in the story, if there truly is a story, if one of its many threads has some kind of priority over the rest. The original series had, […]...
- 8/7/2017
- by Larry Gross
- Filmmaker Magazine - Blog
After nearly two weeks of viewing some of the best that cinema will have to offer this year, the 70th Cannes Film Festival has concluded. With Ruben Östlund‘s Force Majeure follow-up The Square taking the top jury prize of Palme d’Or (full list of winners here), we’ve set out to wrap up our experience with our favorite films from the festival, which extends to the Un Certain Regard and Directors’ Fortnight side bars. Check out our favorites below, followed by the rest of the reviews. One can also return in the coming months as we learn of distribution news.
120 Beats Per Minute (Robin Campillo)
Sometimes a movie doesn’t need much character development to make an impact. The ensemble cast that comprise Robin Campillo’s AIDS activists in 120 Beats Per Minute all work together to be the same voice. Through this group, the director captures a force...
120 Beats Per Minute (Robin Campillo)
Sometimes a movie doesn’t need much character development to make an impact. The ensemble cast that comprise Robin Campillo’s AIDS activists in 120 Beats Per Minute all work together to be the same voice. Through this group, the director captures a force...
- 5/29/2017
- by The Film Stage
- The Film Stage
Pasolini included an “essential bibliography” in the opening credits of Salò, or the 120 Days of Sodom, proffering five philosophical titles by the likes of Roland Barthes and Maurice Blanchot to help viewers navigate his rich and daunting Sadean masterpiece. The closing credits of Arnaud Desplechin’s Ismael’s Ghosts also feature a reading list that could be called essential. Of the four authors listed therein, one in particular might hold the key to interpreting Desplechin’s exhilarating, overflowing mindfuck of a movie: Jacques Lacan.
Desplechin has frequently acknowledged his debt to psychoanalysis in general and Lacan specifically, but never had he dared plunge as deeply into the mysteries of the psyche as he does here. The hyper-dense complexity of Ismael’s Ghosts may be his attempt at a cinematic representation of a nervous breakdown, namely that of the protagonist Ismael (Mathieu Amalric), a director who gets stuck at a creative...
Desplechin has frequently acknowledged his debt to psychoanalysis in general and Lacan specifically, but never had he dared plunge as deeply into the mysteries of the psyche as he does here. The hyper-dense complexity of Ismael’s Ghosts may be his attempt at a cinematic representation of a nervous breakdown, namely that of the protagonist Ismael (Mathieu Amalric), a director who gets stuck at a creative...
- 5/17/2017
- by Giovanni Marchini Camia
- The Film Stage
One cannot but share the praises for the "imaginary friends"—filmmakers Gabriel Abrantes, Alexander Carver, Benjamin Crotty, and Daniel Schmidt—by film critics and sensitive audiences, and all the adjectives are right, from the sumptuousness of imagery to the unpredictability and boldness of their scripts. Discovering and/or returning to the films remains a constant pleasure and an uncommonly thought-provoking experience.Going back to some of the films, and thanks to a certain distance in time and circumstances, I feel something could be said about precisely these particular relationships and the elegant tone created by the friendship's humorous and burlesque qualities.In, for example, Palaces of Pity (2011), Ennui ennui (2013), The Unity of All Things (2013), as in La isla está encantada con ustedes (2015), families, siblings, couples and groups (more than individual "characters") go through adventures where they are all faced with the immensity of the universe, time and space, history and traces,...
- 2/22/2016
- by Marie-Pierre Duhamel
- MUBI
The Notebook is the North American home for Locarno Film Festival Artistic Director Carlo Chatrian's blog. Chatrian has been writing thoughtful blog entries in Italian on Locarno's website since he took over as Director in late 2012, and now you can find the English translations here on the Notebook as they're published. The Locarno Film Festival will be taking place August 3 - 13. Jacques Rivette in Locarno in 1991 when he received the Pardo d’onore. © Festival del film Locarno 1. Writing as a filmmaker “The only true criticism of a film is another film,” wrote Jacques Rivette, commenting on Ingmar Bergman’s Sommarlek (Summer Interlude) in 1958. He was making his intentions quite clear, and indeed his colleagues of the time recall how he was the first to be sure he would be a filmmaker. So a film cannot be explained in words, but Rivette still tried to put into words his own adventures as a spectator.
- 2/3/2016
- by Carlo Chatrian
- MUBI
Michael Williams: Paintings
The Canada Gallery, NYC
Through December 8, 2013
Int. Bellylaffs Comedy Club - Evening
House Band [Jay-z/Kanye West]: I ball so hard muthafuckas wanna find me, first niggas gotta find me / Tha shit cray / Tha shit cray / Tha shit cray / Ain’t it, Jay?
Music Fades.
Sidekick [Tracy Morgan]: Give it up for Jay-z and Kanye West, Ladies and Gentlemen… and now, you have probably seen his recent special It Ain't Gonna Suck Itself [Applause]…Bellylaffs is pleased to present one white boy who really does ball hard…
Host [James Franco] - enters stage right]: Thank you Tracy! Thank you! [Applause] Thank you! It’s true, I really do ball hard. Very hard. Mostly by myself… [Laughter/Applause]… Thank you…
Host: So this guy, who has never been sick a day in his life, calls his boss. He says, "I can’t come in today, I’m sick." The boss says, "No problem, take the day off.
The Canada Gallery, NYC
Through December 8, 2013
Int. Bellylaffs Comedy Club - Evening
House Band [Jay-z/Kanye West]: I ball so hard muthafuckas wanna find me, first niggas gotta find me / Tha shit cray / Tha shit cray / Tha shit cray / Ain’t it, Jay?
Music Fades.
Sidekick [Tracy Morgan]: Give it up for Jay-z and Kanye West, Ladies and Gentlemen… and now, you have probably seen his recent special It Ain't Gonna Suck Itself [Applause]…Bellylaffs is pleased to present one white boy who really does ball hard…
Host [James Franco] - enters stage right]: Thank you Tracy! Thank you! [Applause] Thank you! It’s true, I really do ball hard. Very hard. Mostly by myself… [Laughter/Applause]… Thank you…
Host: So this guy, who has never been sick a day in his life, calls his boss. He says, "I can’t come in today, I’m sick." The boss says, "No problem, take the day off.
- 11/30/2013
- by bradleyrubenstein
- www.culturecatch.com
Michael Williams’s fourth show since 2007 at this painting-centric gallery gives electric evidence that his painterly promise has come to impressive fruition. In the two spacious galleries of the newly relocated Canada, I was stunned into something like a stupor by Williams's work. No matter how closely or long I looked at these eleven large colorful paintings, I could not gain a purchase on their surfaces. His new work delivers a sort of tranquilizer bullet to one's ability to detect haptic presence. A viewer knows there's paint on the canvas, and yet when one tries to focus on it through the multiple overlays of images and abstract fields, the paintings continually come into and then fall away from actually feeling physical. Philosopher Maurice Blanchot has written about such paradoxical "inaccessibility" as something being in "infinite pursuit of its own source." I know that I felt like Williams's new paintings suspended...
- 11/19/2013
- by Jerry Saltz
- Vulture
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.